Music

Sunday Singing: Jesus, I Come

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Today’s hymn of faith is another one I hadn’t heard before Indelible Grace wrote new music to it. William T. Sleeper (1819-1904) was a native of New Hampshire and Congregationalist minister in Wor­ces­ter, Mass­a­chu­setts, wrote the words in 1887. It’s a moving confession of coming to Christ with nothing. No bargaining, no promises, no attempts to merit the grace he offers.

“Blessed be the God and Father of our Lord Jesus Christ! According to his great mercy, he has caused us to be born again to a living hope through the resurrection of Jesus Christ from the dead” (1 Peter 1:3 ESV).

1 Out of my bondage, sorrow and night,
Jesus, I come, Jesus, I come;
Into thy freedom, gladness, and light,
Jesus, I come to thee.
Out of my sickness into thy health,
Out of my want and into thy wealth,
Out of my sin and into thyself,
Jesus, I come to thee.

2 Out of my shameful failure and loss,
Jesus, I come, Jesus, I come;
Into the glorious gain of thy cross,
Jesus, I come to thee.
Out of earth’s sorrows into thy balm,
Out of life’s storms and into thy calm,
Out of distress to jubilant psalm,
Jesus, I come to thee.

3 Out of unrest and arrogant pride,
Jesus, I come, Jesus, I come;
Into thy blessed will to abide,
Jesus, I come to thee.
Out of my self to dwell in thy love,
Out of despair into raptures above,
Upward for aye on wings like a dove,
Jesus, I come to thee.

4 Out of the fear and dread of the tomb,
Jesus, I come, Jesus, I come;
Into the joy and light of thy home,
Jesus, I come to thee.
Out of the depths of ruin untold,
Into the peace of thy sheltering fold,
Ever thy glorious face to behold,
Jesus, I come to thee.

Blogs, Socials, Coffee, Tea, Drinks, Fiction, Non-fiction, Reading

Let The Words Wash Over You

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Reading Passively: “One of the problems of shouldering one’s way through books—worldview machete in hand—is that we become the kind of readers who get from a book only what we bring to it.” Professor Jermey Larson writes about reading for experience and enjoyment and letting active learning take a back seat. He leans on C.S. Lewis’s effort to equip readers of medieval literature to stay with the story instead of looking at commentaries every other page.

And the Gulag Remains: The Gulag Archipelago in English is 50 years old this year. Gary Saul Morson writes, “Before Solzhenitsyn, Western intellectuals of course knew that the Soviet regime had been ‘repressive,’ but for the most part they imagined that all that had ended decades ago. So it was shocking when the book described how it had to be written secretly, with parts scattered so that not everything could be seized in a single raid. Solzhenitsyn offered an apology for the work’s lack of polish: ‘I must explain that never once did this whole book . . . lie on the same desk at the same time!’ ‘The jerkiness of the book, its imperfections, are the true mark of our persecuted literature.’ Since this persecution is itself one of the work’s themes, its imperfections are strangely appropriate and so, perhaps, not imperfections at all.”

The Past that Binds: Gina Dalfanzo reviews The Blackbird & Other Stories by Sally Thomas. “Our pasts are always part of us, shaping who we are, and that includes the people in them.”

Remembering How We Cooked: Writer Megan Braden-Perry talks about authentic New Orleans gumbo and how strangers change historic recipes. “To me, the composition of gumbo is a topic serious enough to invade my dreams. Recently I had the most awful nightmare, that I made gumbo and forgot all the ingredients and spices. It was just a roux and broth.”

The Steel Man Cometh: How the music business can course correct on artificial intelligence. “I guess training AI to replace human musicians is evil—unless they can make a buck from it.”

Photo: John Margolies Roadside America photograph archive (1972-2008), Library of Congress, Prints and Photographs Division.

Fiction, Reviews

Saga reading report: ‘Bard’s Saga’

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There was a king named Dumb. He ruled over the gulfs that stretch north across Helluland and are now called Dumbshaf after King Dumb. He was descended from giants on his father’s side, a good-looking people and larger than other men; but his mother was descended from the tribe of trolls….

When I made my one visit to Iceland involving more than a stopover in the airport, I took a day trip out to the Snæfellsnes peninsula, to see locations I’d be using in West Oversea, which I was working on at the time. At one point we visited the construction/statue shown on the cover of the book shown above (which is not the one I’m reviewing). Our guide told us this was a guy named Bard, who did things like wading across fjords. I’d never heard of this Bard, and it meant nothing to me at the time.

Years later, Bard came up again in some material I translated for Saga Bok Publishing (not likely, alas, ever to see publication now). Bard, it turned out, was the subject of one of Iceland’s legendary sagas – a late saga full of folkloric elements.

The saga opens with the regrettably named King Dumb mentioned in the quotation above. Dumb and his wife have a son named Bard, the hero of this saga. Bard is, for a time, foster son to the giant Dofri, for whom Dovre Mountain in Norway is named (Dofri features in certain legends concerning the youth of King Harald Fairhair, legendary uniter of Norway, which Snorri Sturlusson quite understandably omitted from Heimskringla), but eventually, unable to get along with that same King Harald, he emigrates to Iceland and settles on the Snæfellsnes. Later, unable to live at peace with lesser men, he retires to dwell in a cave in the mountain, becoming a legendary figure (“the god of Snæfell”) who comes at the nick of time to rescue friends when they are in need. In time he has a son named Gest who is effectively identical to himself and performs the same kinds of feats.

In the end, Gest goes to Norway to meet King Olaf Trygvesson. The king exhorts him to adopt the true faith, but he resists. Later, in a scene reminiscent of Sir Gawain and the Green Knight, an armored troll (or giant) shows up at Olaf’s court and challenges him to send a hero to claim his (the troll’s) treasure. Gest accepts the challenge, traveling in company with a priest, who eventually baptizes him. But Gest (perhaps because of his other-worldly family roots) cannot survive long as a Christian.

It’s a peculiarity of the Icelandic sagas that the genre did not generally improve with time. Later sagas (and Bard’s Saga is one of the latest ones we have) lack the verisimilitude and psychological insight of the classic sagas. Bard’s Saga is interesting for its legendary elements, and also for the geographical assumptions that seem to be in play (the author appears to think North Norway and Greenland are close to each other).

We tend to think of Norse mythology as a sort of closed canon, as in Christian theology. Stories like Bard’s Saga offer abundant clues to whole branches of pre-Christian belief that are remembered, if at all, only in fragmentary or distorted form.

Fiction, Reviews

‘The Fulcrum,’ by J. C. Ryan

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Rex Dalton is the hero of a series of action thrillers by J. C. Ryan, The Fulcrum being its first volume. Here is another example of that trope I’ve been noticing lately – thrillers about super-secret, completely deniable government assassins who take lethal care of those special cases normal diplomacy, espionage, and warfare can’t handle. It seems to me this trend must express some public hunger for more robust, aggressive action to be taken against a rising tide of terrorism and crime in the world.

Our hero, Rex Dalton, lost his family to a terrorist event years ago. After that he cast off all his human ties, enlisted in the Marines (later Delta Force and then something even more hush-hush), and began turning himself into a living weapon, a sort of warrior monk committed to killing terrorists to the exclusion of all else. At one point he meets a woman he finds attractive, but his focus is elsewhere.

The prose in The Fulcrum wasn’t the worst I’ve seen, and the occasional political comment usually suited my prejudices. But the problem with this book was that it wasn’t really a story. There was no narrative arc. All we had was a sequence of accounts of various actions Rex carries out – invariably with perfect efficiency. He never makes a mistake. He never meets an enemy he can’t overcome. His plans of action always survive contact with the enemy. This author knows nothing about building dramatic tension.

Which is not to say the book was dull. It was interesting to watch our hero at work. But it just wasn’t a story.

I can’t say you shouldn’t read The Fulcrum. There’s entertainment value here. But I can only deplore the absence of narrative craftsmanship.

The Press, Writing

As Seen in ‘Religion & Liberty’

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I am proud (in a suitably humble way) to announce that my first article has appeared in Religion & Liberty Magazine, published by the Acton Institute.

Its topic, a sure crowd-pleaser, is the story of Professor Georg Sverdrup, Augsburg Seminary, and the Lutheran Free Church. Readers of this blog have enjoyed my accounts of the antics of the Free Lutherans for many years (as I’m editor of the Sverdrup Journal), but now the whole wide world can marvel at the story. The passion. The pathos. The pietism.

Getting back to the real world, I’m well aware that the saga of the Free Lutherans is pretty tall grass stuff, even for people generally interested in church history. And we Norwegian Americans do love our schisms, which complicates matters. Hot dishes and schisms, that’s how you can tell Norwegian-American Lutherans.

The obscurity of my topic was brought home to me in a surprising way when I received my copy of the magazine, opened it, and found that it had been illustrated with an image, not of the Georg Sverdrup I wrote about, but of his namesake great-uncle. I can sympathize with the artist – I wrote an article about the Reformation kings of Denmark for the Sverdrup Society newsletter a while back and got my Fredericks and Christians completely mixed up. Had to print a correction in the next issue.

The R&I editor, when I pointed the lapse out to him, was very apologetic, and the artist quickly produced a corrected version, which will be used when the article goes online next month. And I appreciate that.

But these are details. The important thing is that the article serves its higher purpose – the great cause for which I labor with unwearying toil.

The cause of me getting paid.

And, of course, contributing to public knowledge of the history of the Christian faith. That too.

Fiction, Reviews

‘Down For the Count,’ by Stuart M. Kaminsky

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He was one of those guys who look around when you talk about money because they can’t imagine any legal way they might earn it.

I reviewed another of Stuart M. Kaminsky’s Toby Peters novels the other day. Toby, a low-rent Los Angeles PI in the 1930s and ’40s, tends to be hired – under seriocomic circumstances – by various movie stars and celebrities to clear their names.

Down For the Count begins with Toby looking down at a murdered man on the beach – and up at Joe Louis, heavyweight champion of the world. Louis explains that he saw the man being beaten and ran up to help, but the killers got away before he got there. Toby, who is a fight fan and respects Louis, believes him. He advises the champ to run off before the police get there, and then undertakes to find the real murderer for him, so he won’t be implicated in a scandal.

Toby knows who the dead man is, because his widow (who happens to be Toby’s ex-wife) just hired him to locate the man. Investigation reveals that he had gotten involved in investing in boxers and arranging “cards.” Losses in such enterprises had gotten him involved with some of the nastiest characters in the LA underworld. There is no lack of suspects – or of tough guys (including cops) eager to rearrange Toby’s face, at best.

The Toby Peters books are always amusing. I enjoy the characters and the period flavor of Down For the Count. This one has a darker ending than most in the series. Recommended.

Fiction, Reviews

‘The Daughters of Cain,’ by Colin Dexter

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Morse had got it wrong, of course. Morse nearly always got things hopelessly, ridiculously wrong at the start of every case. But he always seemed to have thoughts that no one was capable of thinking. Like now.

I think I’ve read all Colin Dexter’ Inspector Morse novels already. But one of them showed up cheap for Kindle purchase, and I figured I’d re-read it – especially as I’ve been watching episodes of the old John Thaw BBC TV series recently. The book was The Daughters of Cain, and I recognized it as one that – though I enjoyed it – I thought included one ridiculous plot element.

Morse is put in charge of a case concerning an Oxford don who’s been murdered in his home. The chief suspect is the “scout” (the servant) in the college building where he worked. That scout had been found to be dealing drugs to students. He also (we learn) had been brutalizing his wife.

But that man has disappeared. Soon Morse begins to suspect that he too has been killed, by a conspiracy of nice women – his abused wife, her teacher friend, and his stepdaughter (also abused), who is now a prostitute.

As is customary in the Morse novels, we have no moments of Sherlock Holmes super-ratiocination here. Morse, fighting a bad cold and fueled by beer and cigarettes, makes one wrong guess after another, until by a process of elimination (and inspiration) he hits on the truth. Which is pretty much how it works in real life, which may explain the charm of the series.

What is harder to explain is the charm of Morse himself. I have an idea that author Dexter’s original conception of Morse was not much like the actor John Thaw (Shaun Evans of “Endeavour” may have been closer). As I recall, the first Morse novel features women commenting on how “dishy” the detective is.

But as the series continued, Dexter threw in with the TV show entirely, and his Morse and the video Morse became pretty much the same. Yet Morse seemed to possess the same attractiveness to women.

In The Daughters of Cain, one of the central characters is Ellie, the abused stepdaughter of the missing murderer, who is now a prostitute. Although Morse finds her repellant at first, he finds himself increasingly attracted to her. And then – and this is what I really don’t get – she reciprocates the feeling.

Why? What is there about Morse as we know him that would appeal to a young woman who has romantic options? He’s much older, he’s out of shape, he’s short-tempered, he isn’t rich.

This element of the story simply made no sense to me. (Not to mention that most cops have more sense than to fall for prostitutes.) It seemed to me as if the author was forcing his characters into unnatural behaviors, and that’s a major sin in fiction.

Otherwise, The Daughters of Cain was quite a good novel. You might feel differently about the romantic element.

Cautions for language and mature subject matter.

Music

Sunday Singing: I’m Not Ashamed to Own My Lord

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“I’m Not Ashamed to Own My Lord” performed by Nathan C. George and family

Today’s hymn of faith is from the profound and marvelous writer Isaac Watts. The tune is called Pisgah and was written by J.C. Lowry according to the Kentucky Harmony tunebook (1811). The wonderful performance above captures the feel of the tune.

“For I am not ashamed of the gospel, for it is ethe power of God for salvation to everyone who believes, to the Jew first and also to the Greek” (Romans 1:16 ESV).

1 I’m not ashamed to own my Lord,
or to defend his cause,
maintain the honor of his Word,
the glory of his cross.

2 Jesus, my God! I know his name,
his name is all my trust;
nor will he put my soul to shame,
nor let my hope be lost.

3 Firm as his throne his promise stands,
and he can well secure
what I’ve committed to his hands
’til the decisive hour.

4 Then will he own my worthless name
before his Father’s face,
and in the new Jerusalem
appoint my soul a place.

Religion

Is God Silent? Why Belief in God Isn’t Obvious

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This month I’ve been editing the video lectures of a philosophy course in my day job, and I’ve gotten into discussions on God’s existence. There are a couple natural problems with knowing God. One is that he is a metaphysical being, who by nature transcends the senses. We cannot know and observe God the same way we would anything in the created world. He is beyond us. He is invisible and without form. We think of the Holy Spirit as a breath because we have few metaphors to go by. God as a being is hard to describe.

Because God is beyond us, because he is the creator and we the created, we have epistemic distance with him. There’s only so much we can know about him because we can’t comprehend him.

He is also a person, who may choose to go unseen. This is a simple point for any person. If our environment allows it, we can hide from each other. If our environment doesn’t allow it, we can choose to sit the corners of the room and not talk to each other. People are intelligent beings who choose to communicate or stay silent. Since God is not a force of nature but an eternal being, he could choose for his own reasons to remain unknown to his creation.

There are some who ask why God doesn’t make his presence obvious. Why are agnostics even given room to breathe? Wouldn’t it be better if we all knew there was a God and couldn’t doubt? Responding to this, some argue that God maintains a distance from us in order to allow for our free will. He wants us to love him freely, not under compulsion. I can understand the appeal of this argument; many people put a lot of stock in human free will, but does this argument fit with the world as the Bible describes it?

God created the first couple in a perfect garden and spoke to them personally. We don’t know what that looked like, but it seems to be as relational as two people talking—no distance maintained out of respect for the free will of the created. And Adam and Eve chose the knowledge of good and evil over the divine being they spoke to earlier that day.

Jesus said, “And this is the judgment: the light has come into the world, and people loved the darkness rather than the light because their works were evil” (John 3:19 ESV).

This turns the question of God’s self-revelation back to us. It isn’t that he hasn’t done enough to reach us; it’s that we are running away. We stop our ears. We shut our eyes. We actively “suppress the truth” that we were created by God for his glory.

For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men, who by their unrighteousness suppress the truth. For what can be known about God is plain to them, because God has shown it to them. For his invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made. So they are without excuse.

(Romans 1:18–20 ESV)

It would be more correct to say that God isn’t holding back out of respect for our free will but that we love darkness.

Photo by Jordan Wozniak on Unsplash

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A day with the Samband

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I’m late posting tonight, because I got in late, and anyway it felt like a Saturday  to me. I was doing a Saturday thing, in my subjective world.

I think I’ve mentioned that I’m now editing the magazine of the Valdres Samband, one of many US organizations composed of descendants of immigrants from various regions of Norway (I’m not a Valdres descendant myself, which will tell you how desperate they were for an editor). Today, in that capacity, I attended their annual Stevne, which means their annual get-together, in Minneapolis. I also delivered my world-renowned lecture on Viking Legacy, and sold some books.

The video above does not represent what we were actually doing today. There was no dancing, though I’m sure it would have been welcome. But we did have a fiddler entertaining us during dinner on a Hardanger Fiddle, the instrument being played in the video, which (appropriately) was actually posted by the Valdres Samband several years back.

If the tones of the Hardanger Fiddle sound vaguely familiar, that may be because (at least according to what I was told) one was used for the theme music of the Riders of Rohan in the Lord of the Rings movies.

The Hardanger Fiddle is a uniquely Norwegian instrument. Below the usual four strings, it is strung with four or five more. These lower strings are not played directly, but resonate harmonically with the main notes, producing a weird, haunting droning sound sometimes compared to the bagpipes.

My Haugean pietist ancestors, by the way, would have been shocked by this, and might have smashed the fiddle if they could get their hands on it. They believed that dancing was bad in itself, but that Hardanger Fiddle music was positively demonic. Master fiddlers were regarded as a kind of wizard.