Poetry has always been a central element of Christian spirituality and is increasingly used in worship, in pastoral services and guided meditation. Here, Cambridge poet, priest and singer-songwriter Malcolm Guite transforms 70 lectionary readings into inspiring poems for use in regular worship, seasonal services, meditative reading or on retreat.
Today s pastors often expected to be multitasking marvels who can make their churches "successful" are understandably confused about their role. Craig Barnes contends that the true calling of a pastor is to assist others in becoming fully alive in Christ to be a "minor poet." The pastor absorbs the wisdom of major poets the biblical poets as well as the church s theological poets and distills its essence for parishioners. / The Pastor as Minor Poet calls pastors to continually search for a deeper, truer understanding of what they see both in the text of Scripture and in the text of their parishioners' lives. Discerning the subtexts beneath these texts reveals the core truths that allow pastors to preach the heart of the Word and to understand the hearts of the people to whom they minister. Written with a seasoned pastor s depth of understanding and a poet's sensibility and sensitivity, this book will minister to and inspire pastors everywhere.
Christian Latin poetry from the fourth to sixth centuries was hugely influential on English and French medieval literature. In this, the first substantial overview of this poetry, Carolinne White sets the works in their literary and historical context, including translations of over thirty poems and excerpts, many never translated into English before.
A theological framework for the liturgical arts rooted in John Calvin Both detractors and supporters of John Calvin have deemed him an enemy of the physical body, a pessimist toward creation, and a negative influence on the liturgical arts. But, says W. David O. Taylor, that only tells half of the story. Taylor examines Calvin's trinitarian theology as it intersects his doctrine of the physical creation in order to argue for a positive theological account of the liturgical arts. He does so believing that Calvin's theology can serve, perhaps surprisingly, as a rich resource for understanding the theological purposes of the arts in corporate worship. Drawing on Calvin's Institutes, biblical commentaries, sermons, catechisms, treatises, and worship orders, this book represents one of the most thorough investigations available of John Calvin's theology of the physical creation—and the promising possibilities it opens up for the formative role of the arts in worship.
A moving meditation on memory, oblivion, and eternity by one of our most celebrated poets What is it we want when we can’t stop wanting? And how do we make that hunger productive and vital rather than corrosive and destructive? These are the questions that animate Christian Wiman as he explores the relationships between art and faith, death and fame, heaven and oblivion. Above all, He Held Radical Light is a love letter to poetry, filled with moving, surprising, and sometimes funny encounters with the poets Wiman has known. Seamus Heaney opens a suddenly intimate conversation about faith; Mary Oliver puts half of a dead pigeon in her pocket; A. R. Ammons stands up in front of an audience and refuses to read. He Held Radical Light is as urgent and intense as it is lively and entertaining—a sharp sequel to Wiman’s earlier memoir, My Bright Abyss.
This cycle of poems reflects the life of Christ, by giving voice to and meditating on those closest to him and those who were touched by his earthly ministry. The defining events of the faith are explored with depth and freshness here, but also the tender moments that perhaps we consider less: Mary feeling the first movements of her baby within her, or Saint Joseph sitting beside his sleeping son. Written during Read's first ten years as a Catholic and poet in residence of the Hermitage of the Three Holy Hierarchs, the central narrative is interwoven with lyrical, contemplative pieces about God and our relationship with him. This book gives voice to what at times can seem inexpressible, bringing Christ closer by entering into his life and expressing his life in us.
“The vividness and beauty of the language emerge in a fresh way . . . with evocative simplicity.” —Robert Alter, professor emeritus of Hebrew and comparative literature, University of California, Berkeley The world’s greatest poetry resides in the Bible, yet these major poets are traditionally rendered into prose. In this pioneering volume of biblical poets translated in English, Willis Barnstone restores the lyricism and power of the poets’ voices in both the New and Old Testaments. In the Hebrew Bible we hear Solomon rhapsodize in Song of Songs, David chant in Psalms, God and Job debate in grand rhetoric, and prophet poet Isaiah plead for peace. Jesus speaks in wisdom verse in the Gospel, Paul is a philosopher of love, and John of Patmos roars majestically in Revelation, the Bible’s epic poem. This groundbreaking volume includes every major biblical poem from Genesis and Adam and Eve in the Garden to the last pages of Alpha and Omega in Paradise.
"In her interview with The Paris Review, Joan Didion offered this credo: 'The writer is always tricking the reader into listening to the dream.' To read Devin Kelly's poetry collection, In This Quiet Church of Night I Say Amen is to privilege the dream. This book is an elegy for the living, the simple difficulty within and behind departure: 'Who we let go & how-I want to tell you this means more than who we stay beside.' The hard geographic lines in this collection, as we move through the industrial landscape of Appalachia to the coffee-studded sidewalks of Brooklyn, draw parcels of memories and non-memories. Such proximities ask us who we are when we are here and not here. Kelly is a poet of infinite feeling, a poet who is not afraid to bewilder his capacity to love. This book hurts the way life hurts, and Kelly promises us thus: 'Life will have, I think, its punishment for all of us.' If you grow dizzy as you read this book, it's because you haven't been breathing. These are gorgeous poems." --Natalie Eilbert, author of Indictus and Swan Feast
Organ and piano duet teams will appreciate Billie Nastelin's skillful arrangement of the beautiful "How Lovely Is Thy Dwelling Place" from the Brahms Requiem. Each player has opportunities with both melody and accompaniment, and congregations and audiences will request this over and over. Two copies of the music are included. Also arranged for organ/piano duet by Nastelin: "And the Glory of the Lord," from Messiah (GOPD9901),