A Labor of the Instant

Photo by the author

“Religious writing, poetry that is authentic religious writing, writing that is religious work, is very precisely an attempt to be where the action is, God’s action, where this reality, me, my words, my perception, meet what is fundamental, God. . .”1

What do we say when we talk and write about God? It’s a question that goes deeper and deeper, like those little Russian dolls, one inside the other, until you lift out the last one, the one so small it cannot be opened but only may be held. Much of what we talk about when we talk about God is precisely that—talk about our talking of God, metatalk,talk that sets us at several removes from God and turns God into an object to be scrutinized alongside other objects in the world. Such talk clarifies the boundaries of definitions and aligns the methods of discourse, but it does not translate well out of the seminar and the conference setting.

We must ask ourselves, then, especially those of us who call ourselves Christians, why people—or rather, why we—talk and write about God? One reason, surely, is that we hope others will experience something of God, something that will help them dive deeper, become more supple, find more meaning, discover a saving attunement to Spirit. And this motivation arises on the assumption that we have witnessed in our own lives the outlines of what that something is, through tradition and revelation and personal experience. We can only express with credibility that which we ourselves have seen.

So the “why” of this form of talk inevitably leads to the “what,” a movement from motive to content. But that seems backwards, as if our enthusiasm (from en theos, to be in God) suddenly went searching for the message about God that we could give to others.

The way we were taught about witnessing for our faith always began with the content of doctrine, a system of beliefs that logically cohered and was meant to be persuasive. Only then did you overcome your shyness or your instinctual respect for the privacy of others, and launch the frontal assault for their conversion in the paramilitary style of witnessing that some Protestant traditions employ.

We looked to doctrine to guide us into a relationship with Christ. We thought that to begin with beliefs would eventually lead us to love and to a sense that we were accepted by God. Content would trigger inspiration and lead to motivation to talk and write of God with others.

There are many people whose temperament and outlook on life make this the most natural way to God. “Count the cost,” Jesus said, “before you build.” Are you ready for the changes that come with being in Christ? Do you know what you’re getting into? Acolytes in the early centuries of Christianity spent up to a year studying the beliefs, and observing and learning the practices of the communities of Jesus, before they were formally accepted into the body of Christ through baptism. Given that joining such a community was often a prelude to martyrdom, it was essential that they had counted the cost—and that they would not betray their companions.

“Christian doctrine,” says Rowan Williams, the former Archbishop of Canterbury, “exists so that certain obstacles may be taken away to our openness to the action of God.”2 There is a subtle nuance here: doctrines are gates that open to let the flow of responsive spirituality through. They should not be dams to stop the flow until it silts up behind the barrier. Religion does not have to be the death of spirituality.

But for other people the best course is to allow God the lead in this dance. If God is the center of our universe, then God’s gravitational field will draw those willing to him, as we were drawn to him.

“Thou hast made us for thyself,” prayed Augustine, “and our hearts are restless until they find their rest in thee.” I memorized that when I was trying to understand prayer and was reading a lot of books about prayer. Notably, I was not praying. My prayers, I believed, fell too easily into the category of “vain repetitions.” They embarrassed me and I was sure they embarrassed God.

As much as possible, I wriggled out of praying in public, convinced that I could only offer up the palest petitions and the most tepid thanksgivings. On the few occasions when I could not refuse, I did not prepare. Instead, I offered up a silent, desperate cry before moving to the lectern. “Say what you want through me,” I prayed. “I’ve got nothing.” Those were the prayers which fell upon receptive ears, and some of the owners of those ears remarked that I had seen into their hearts. “Not me,” I said, “I was just the breath and mouth of it.”

I was a restless heart for whom the study of the philosophy of religion was finally not enough. I will not cut off as dead weight the years I spent in preparation and the years I enjoyed opening students to it. It satisfied a part of me that wanted to witness the grand sweep of thought about God. And I taught ethics so my students and I might be awake and contributing for justice to roll down like waters, and righteousness like an ever-flowing stream. But it was not enough.

“And I, when I am lifted up from the earth,” said Jesus, “will draw all people to myself.” And the Gospel of John continues: “He said this to indicate the kind of death he was to die.”3 That death has drawn the suffering of this broken world into itself. This man, the very image of God, was and is the Word that spoke creation into being. And where the creative impulse flourishes in humans, through art, music, poetry, fiction, essays, there God-in-Christ makes visible his transformation of suffering into beauty.

For many of us, there is a path to God under the open sun, that winds through standing forests, breathes in poetry and song, and blinks in wonder at works of art. We carry a hunger or a sense of lostness or catch a glimpse of beauty or the sharp edge of justice, and then live our way into a structure that builds on that. In a gallery in a city we find a torso draped in cloth—but it is carved of wood—the flowing miracle of solidity. In another gallery we marvel at the dress that’s spun of glass, the rainbow woven of ten thousand anchored threads. The wonder of forms that reveal grace, these are intimations of God in the presence of a distilled silence heard with reverence.

Rowan Williams reminds us that “We need Christian doctrine because we need some notion of what it is we are trying to be attuned to . . . But if doctrine doesn’t make possible poetry and contemplation, then doctrine is a waste of time; it becomes purely and simply old, safe, and useful.”4

The doctrine of Creation, that there is in all of us a creative impulse reflective of the very image of God, bursts forth in wider and wider circles from the still point of the Spirit at the center. I hear it in the poetry of R. S. Thomas, Mary Oliver, and Rilke. It rings through in the secular psalms of U2, Bruce Springsteen, Paul Simon, and Sting. It is there in the delicate balance of forces in the kinetic art of Andy Goldsworthy’s natural sculptures, in the brooding portraits by Georges Rouault, and the sensual delight in Marc Chagall’s angels, cows, and villagers.

“Man is all Imagination,” wrote William Blake, that God-intoxicated poet. “God is Man & exists in us & we in him. The Eternal Body of Man is The Imagination, that is, God himself . . . It manifests itself in his Works of Art.”5

God is in the world in many forms and voices; grace gives us the lens to see his glory in the world. In those artists whose works take us through the painful descent into the hells of human suffering, we see the steps of the Christ who harrowed those hells and destroyed the power of death.

Williams says, “. . . God is spoken of, and spoken for, or indeed just spoken, precisely in writing that has no explicitly religious content, because of the character of the writing as a labor of the instant.”6

The Spirit moves as does the wind, springing up in an instant and coursing through us. “And we are put on earth a little space,” says Blake, “That we may learn to bear the beams of love.”7 To that, our most eloquent response, our deepest talk of God, may be our grateful silence.

  1. Williams, Rowan. A Silent Action: Engagements with Thomas Merton. Louisville, KY: Fons Vitae, 2011, p. 47.
  2. Williams, p. 50.
  3. Jn. 12:32,33 NRSV.
  4. Williams, p. 50.
  5. Quoted in Frye, Northrop. Fearful Symmetry: A Study of William Blake. Princeton University, 1947, p. 30.
  6. Williams, p. 49.
  7. Blake, William. Songs of Innocence and Experience. New York: Avon Books, 1971, p. 37.

The Tree Lives On


(Photo: Joy Daquila-Casey)

“I can’t believe the news today
I can’t close my eyes and make it go away.
How long, how long must we sing this song?
How long, how long?
‘Cos tonight
We can be as one, tonight.” (Sunday Bloody Sunday)

From the first stutter beats of “Sunday Bloody Sunday” from Larry Mullen, Jr., the crowd at FedEx Field rose as one with a roar. He was joined by Adam Clayton, The Edge, and Bono, who tore into the lyrics from a song about the IRA bombing of Armagh that has only deepened in meaning in the decades since.

The first four songs, done on a stage in the shape of a Joshua Tree that extended into the audience, are standards on their concert set list: “Sunday Bloody Sunday,” “New Year’s Day,” “Bad,” and “Pride (In the Name of Love).” They were done with gusto, the crowd shouting out each lyric, but with no onstage pyrotechnics except the spotlights. But when the band pulled back to the enormous main stage they turned to “Where the Streets Have No Name” and The Joshua Tree.

Every tour that U2 performs is a spectacular staging of music, media, and art. Along the way, over all these years, their designers have even invented new technologies to create what Bono called “an epic experience” each night.

The set for Joshua Tree is deceptively simple, an enormous backboard of desert tan with the outline of the iconic Joshua Tree from the original photo shoot splayed out and rising above the backdrop. But as the band gets into full swing the whole thing lights up, serving as a photo montage, a video screen, and a live action feed of the band, usually all at once.

It’s breathtaking, especially as we see the band at first silhouetted as black figures against a luminous crimson background, and later as we are at the wheel of a car driving down the yellow stripe of a road through the desert. The backdrop dwarfs the band itself, but we see them in individual closeups throughout the concert.



The Joshua Tree 2017 Tour is a return to the album that gave U2 their first international acclaim back in 1987, sold 20 million units world-wide, garnered them numerous awards, and gave them superstar standing.

Reagan was in the White House and Thatcher was at 10 Downing Street. The world they had made looked pretty grim and U2’s impassioned lyrics and music reflected the dichotomy between America as myth and America as an idea, something that Bono riffed on in this concert. This album was a direct result of U2’s fascination with America as a place of dreams and of bitter reality. All these years later the songs have taken on new meaning in this partisan minefield, this moment in American history that is more conflicted than when the album was born.

For me The Joshua Tree was a spiritual lifesaver. It came out in 1987, just months before my son was born. I was running a small graphics business out of the top floor of the Sligo SDA Church office, working 14 hours a day, and adjunct teaching World Religions at Columbia Union College. After working all day designing and laying out newsletters, magazines, brochures, and flyers, I’d transition to professor mode in the evening. When I’d finish teaching at 9 pm I’d go up to my office and work all night finishing up designs and meeting deadlines. I had a cassette of Unforgettable Fire, U2’s fourth album but the first one I’d bought. When Joshua Tree came out in March 1987 I played it over and over until the tracks were imbedded in my unconscious. The whole album reflected my spiritual restlessness and hope. If I felt like I was “Running to Stand Still” I also knew that “I Still Haven’t Found What I’m Looking For.”

On this night U2 served up the whole album, working through each song with alacrity and vigor, each one invested with the sweetness of nostalgia as well as the urgency of the present moment. Finishing with the haunting “Mothers of the Disappeared,” they waved goodbye to the crowd. But we knew they’d be back.

The encore set of six songs began with “Miss Sarajevo” with the video realigned to a Syrian refugee camp in Jordan and complete with the soaring verses by Luciano Pavarotti. That was followed by “Beautiful Day,” with Bono exclaiming, “When women of the world unite to rewrite history as her story, that is a beautiful day!”

One of the most poignant moments was during “Ultra Violet (Light My Way),” in which a photo montage of women leaders from Rosa Parks to Michelle Obama to Dorothy Haight, Gloria Steinem, Malala, Connie Mudenda, and many others filled the screens.


(Photo: Sriram Gopal)

During the intro to “One” Bono called out politicians like Nancy Pelosi (D-CA) and Rep. Kay Grainger (R-TX), personal friends of his, and celebrated the fact that 18 million people around the world are surviving AIDS by taking one pill a day paid for by US taxpayers dollars.

The encore and the show finished with “Vertigo,” amidst a spectacular visual display that could have given the faint of heart cardiac arrest.

In 1991 U2 released Achtung Baby, an album that was a decided departure from their previous albums. The band felt they were stagnating and that they “had to go away and dream it all up again.” Bono described their new direction as “four men chopping down the Joshua Tree.”

All these years later the tree has miraculously survived and we are the better for it.