[This was first published during Holy Week 2014]
My daughters, 10 and 8, are approaching the end of their first year at a Christian school. It’s been a bit of a shift for us, moving from the public school system. One of the chief things we’ve been adjusting to is contemporary Christian culture. While the school is non-denominational and has a roughly even blend of Roman Catholics and Protestants (and, yes, both are equally puzzled by the appearance of our Anglo-Catholic girls who don’t fit any of their paradigms!), there is a general embrace of the evangelical-flavored Christian subculture.
When my younger daughter arrived in her second grade class, she was quickly asked whether she preferred TobyMac or Justin Bieber. It was a culture question: do you participate in “Christian culture” or “secular culture”? Predictably for her, she said, “Neither one,” messing with their simplistic paradigm. (I still don’t know who TobyMac is…)
I do understand the desire behind the construction of a distinctly Christian subculture. Parents who choose to go in this direction can feel secure knowing that their religious values will be reinforced by the culture their children consume. It represents a way to conform externally to the same kinds of entertainment as the broader culture, but without the culture’s more problematic content. That’s their choice; that’s not the road that we have taken.
While there can be something very comforting about a “safe” Christian subculture, in the end I find its intention to insulate Christian culture from the broader culture misguided and ultimately dangerous. Yes, there are philosophies and attitudes antithetical to Christianity and Christian living in modern culture, especially in pop culture. Yes, there are songs and movies and such that I don’t let my girls listen to and watch. But ignoring them won’t make them go away; attempting to hide your children from them is not a tenable long-term strategy. We regularly discuss the lyrics of the songs on the pop station in the car on the way to ballet, and I model for them what it looks like to listen and critique, noting what is both positive and negative.
More generally, though, we do a disservice to our work of evangelism, and to our own deep wrestling if we ignore what the culture is saying generally, and in particular what it is saying about and to the church.
I drove the girls to school in my wife’s car this morning. The radio was on, and, in an attempt to avoid the disc jockeys’ gossip about the latest pop princess, I switched over to the CD. I didn’t know what Meredith had in there; as a result, the soundtrack for our drive to school was Suicide Commandos’ “Plastic Christ”:
Do you believe,
Praying to a plastic Christ,
Do you believe,
That God will hear your cry?
Do you believe
In eternal life?
Do you believe
That you will never die?
Do you believe,
Praying to a plastic Christ,
Do you believe
That God will save your life?
The name of the band might tip you off to the fact that this is not a Christian group; half the moms in the second grade class would probably freak if they even suspected its presence in our car. However, there is no doubt that the lyrics wrestle with fundamentally religious questions.
My wife and I have never been into pop music. For my part, I find most of it musically and philosophically anemic. I much prefer the Goth and Heavy Metal from my youth, and, these days, much of the new music I listen to is best characterized as Industrial.
Industrial and its related genres like EBM (Electronic Body Music) aren’t all that common here in the US; it tends to be a more European and continental phenomenon. Nine Inch Nails is probably the best-known American representative of the genre. Like metal, it’s best listened to at loud volumes; like Goth, it tends to wrestle with emotion, meaning, and aesthetics. Characterized by a heavy use of electronic instrumentation, sampling, and computer manipulation, as a genre it investigates the philosophical hole at the center of industrialized society in a post-certainty world. That is, in the aftermath of the 20th century when we saw the two great pillars of the Western social contract, the state and the church, fail humanity in dramatic fashion, where do we turn now for certainty, authority, and meaning? One possible answer is a Nietzschian nihilism trending towards hedonism as exemplified in the lyrics of folks like Marilyn Manson and Thrill Kill Kult. And yet, there are also much more articulate and nuanced approaches that explore humanism, spirituality, and post-Constantinian faith. Particular standouts for me are Assemblage 23 and VNV Nation.
While I’m sure some of the parents at my children’s school would be scandalized by our choice of music, I see it asking some deep and important questions that the church needs to both hear and be able to answer. The lyrics to “Plastic Christ” can be read in at least two ways. One interpretation can see it as straightforward mockery of a simplistic faith. A better interpretation, I think, reads it as deeply ambiguous. The act of posing the question—rather than simply making an assertion—invites the listener into the question itself. Do you believe this, or don’t you? It invites soul searching. My answer is, naturally, “yes”—but the act of investigating the question, seeing how I qualify and interpret it, is an exercise worth conducting.
At its root, I see this song as participating in a body of songs in this genre that grapple with the question of the presence and/or absence of God. Depeche Mode’s “Blasphemous Rumours” and VNV Nation’s “Gratitude” spring quickly to mind as other examples. We can, like the Christian subculture, try to duck the question. Or, as people of faith in but not of the world, we can listen to the question with integrity and attempt to respond to it in kind.
Indeed, I find this season of the year, as we walk through the last days of Lent and move towards the cross in Holy Week, the question of the presence or absence of God in the midst of suffering to have a particular poignancy.
Assemblage 23, brain-child of Seattle-based Tom Shear, confronts listeners directly in the catalogue of his own deeply personal struggles with this issue in “God Is A Strangely Absent Father”:
Depend on me
And I will let you down
You’d think you’d have learned by now
In your hour of need
I’m nowhere to be found
And while you bleed
[Chorus] God is a strangely absent father
His back is turned perpetually
All the orphaned sons and daughters
Abide in their suffering
That is the first verse and the chorus; there are two additional verses in the same vein.
What do we do with this? Some would simply write it off as modern impiety. But is that the best we can do? I’m a grown-up—I’ve heard blasphemy and impiety, but what I’m hearing here is pain. I’m hearing someone who has looked to God for solace and hasn’t found it.
First, I choose to treat this song as an honest question that people—particularly seekers—bear in with them through our doors (if they make it that far). Do we have an honest answer for them? If Tom Shear walked into your parish, sat next to you in your pew, and asked you point-blank questions about where God was in the world and in our lives, would you be able to give him an answer that doesn’t sound glib in the face of personal pain?
Second, hearing his lyrics remind me of others. Try on these:
[God,] Take your affliction from me;
I am worn down by the blows of your hand.
With rebukes for sin you punish us;
like a moth you eat away all that is dear to us;
truly, everyone is but a puff of wind.
Hear my prayer, O Lord,
and give ear to my cry;
hold not your peace at my tears.
For I am but a sojourner with you,
a wayfarer, as all my forebears were.
Turn your gaze from me, that I may be glad again,
before I go my way and am no more.
Or, perhaps, there’s this set:
Lord, why have you rejected me?
why have you hidden your face from me?
Ever since my youth, I have been wretched and at the
point of death;
I have borne your terrors with a troubled mind.
Your blazing anger has swept over me;
your terrors have destroyed me;
They surround me all day long like a flood;
they encompass me on every side.
My friend and my neighbor you have put away from me,
and darkness is my only companion.
Recognize them yet? If not, here’s your final clue:
My God, my God, why have you forsaken me?
and are so far from my cry
and from the words of my distress?
O my God, I cry in the daytime, but you do not answer;
by night as well, but I find no rest.
These impious lyrics, these words which Jesus uttered from his own lips in his last moments, are all from the Psalms. That’s Psalm 39, 88, and 22 respectively. Usually psalms of lament will have sections like this, then make a turn that praise and thank God for his presence and salvation. Psalm 22 does this, and the end speaks of the vindication of the sufferer.
But Psalms 39 and 88 lack this completely. The sections I’ve excerpted contain the ends of both psalms. There is no happy turn. Psalm 88 literarily leaves us alone and in darkness.
Hearing “God is a Strangely Absent Father” gives me new ears to hear these psalms again. It helps me to be confronted and challenged by these scriptural words which confess the experience of divine absence spoken by unknown Israelites sometime over 2,500 years ago. It reminds me that our tradition made the deliberate choice to include and retain these psalms as words to be heard for posterity. These psalms give us no glib or easy answers, and they take on new poignancy as words from the cross itself, words spoken by the dying Christ.
In turn, the psalms lead me back again to the song, and ask me how I would hear it if it appeared under the rubric “psalm of lament”? Does it really sound so foreign alongside the words of the psalms? The psalms remind me that this is no new song—songs of absence have been sung by believers and non-believers alike throughout recorded religious history.
How often are we guilty of trying to shelter the church from the difficult words of Scripture and, in so doing, lose hold of the very passages where we see our forebearers—and our Lord himself—wrestling with these same hard questions that do not resolve themselves with easy answers?
If we were to cut ourselves off from the music and the art (and—dare I say it—the Scripture?) that asks us the difficult questions, does that makes us safer or more complacent and ultimately more afraid to face the hard questions ourselves?
As we enter the last days of Lent and the period of Holy Week, Jesus calls us into a place of suffering. It’s a suffering very much experienced in the world around us—as well as in our selves. Sometimes we are blessed by the power and presence of God in these moments.
Sometimes we’re not.
Sometimes we need to ask with Jesus “My God, my God, why have you forsaken me?”
Sometimes we need to hear it and take it seriously from the lips of those around us.
Re. Psalm 22—I recently made a discovery:
Mark has “Eloi, eloi, lema sabachthani”. (It’s a stab at Aramaic, but Greek simply can’t handle it because in Aramaic, it would be “Eh-lo-hée”, but Greek has no way of putting a breathy “h” sound in the middle of a word, so Mark ends up with the adapted (and inadequate) “Eloi”.
But the fascinating thing I discovered (thanks to Steve Caruso) is that “It is finished” (from John) in Aramaic would be “h’mselah”—which also happens to be the LAST word in the Aramaic Psalm 22, just as the “Ehlohi” is the FIRST word.
So if both Mark and John have any accuracy, it seems that Jesus was, in fact, speaking Psalm 22 on the cross—beginning with its feeling “forsaken” and ending (as you say) with vindication of the sufferer!