Dan Harper | Sermons

  • Covenant of Abraham

    Sermon copyright (c) 2009 Dan Harper. Delivered to the Unitarian Universalist Fellowship of Santa Cruz County, Aptos, California. The sermon as actually delivered differed in some respects from this text.

    Sermon

    One of the fun things about preaching in another Unitarian Universalist church is that I get to check out what other congregations are like. I love to exchange pulpits with other Unitarian Universalist ministers because every church that I visit does several things better than my church does, and then I steal those good ideas and bring them to my church.

    And in return for those good ideas that I steal from the churches I visit, I often try to brings some news of what our church is doing.

    Here’s what’s going on with us: Our church was established by the Massachusetts Bay colonial government in June, 1708, and so we have been having a year-long birthday party for the church’s three hundredth birthday. As part of our three hundredth birthday, we have been researching the history of our congregation. The congregation started out with the typical Puritan theology of Massachusetts Bay, but it liberalized significantly beginning about 1750, so that by 1848 the church called John Weiss, a radical free religionist and post-Christian Transcendentalist, as their new minister.

    I will not say that everyone in the congregation would consider themselves to be post-Christian or non-Christian, because they didn’t. But I will say that it was not some specific theological position that held them together, and I will add that they were willing to tolerate both Christian and humanist minister. Since 1848, our church has had a mix of Christians and humanists and other theological positions.

    Naturally the question arose: if the congregation was not bound together by theology, what was it that was strong enough to keep them together for three hundred years? The answer was quite simple: covenant bound us together.

    And what, you may well ask, do I mean by “covenant”? Well, to begin with, covenant is the center of our religious tradition. As Unitarian Universalists, we are less concerned about what individuals believe:– we can believe in God or not; we do not require anyone to subscribe to a specific creed or dogma. Instead of being organized around specific beliefs, we are organized around a set of promises that we make to one another, and that set of promises is called a covenant. There is no requirement for us to have a written covenant. Yet in our tradition there is always a covenant at the center of our congregations, whether it happens to be an explicit written covenant, or an implicit unwritten covenant.

    In our church, we have not had a written covenant since the ministry of John Weiss, that is, since the 1850s. Yet while we have no written covenant, we have always had a strong implicit covenant. When I arrived at the church, I got curious about the implicit, unwritten covenant. What was it? I listened to members and friends talk about what the church meant to them, and I read through the church bylaws, and other formal documents. Based on what I had heard, and what I had found that had been written down, I wrote up a rough version of our unwritten, implicit covenant. I started reading my rough version of this covenant before the worship service each week. As time went by, people would gently correct me — tell me things I had left out, things that didn’t belong, tell me how to word things better. After about two years, this is what I was reading each week:

    “Here at First Unitarian in New Bedford, we value our differences of age, gender, race, national origin, class, sexual orientation, physical and mental ability, and theology. We are bound together, not by some creed or dogma, but by our covenant: We come together in love to seek after truth and goodness, to find spiritual transformation in our lives; and in the spirit of love we care for one another and promote practical goodness in the world.”

    This is how I tried to articulate the promises that we in our congregation make to one another. Mind you, my version was pretty rough and far from perfect! Then our Committee on Ministry got involved, and they held a series of open meetings, interviewed people, did more research, and they came up with a better written version of our covenant, which goes like this:

    “We come together as a religious community upholding freedom of conscience, right relationship, and the inherent worth of all people. We value our diversity, and pledge to care for one another in the spirit of love and to promote justice and kindness in the world.”

    You can see that this new written version is smoother and more concise (it was written by one of the poets in our church); and next Sunday, our congregation is going to vote on whether or not this will become a formal, written covenant for us. But no matter how that vote goes, what’s written down isn’t what’s most important about a covenant. Any written covenant merely puts into writing a set of promises that already exists at the core of who we are as a congregation. A covenant describes our way of being together as a religious community. And in our tradition, the way we make ourselves into a religious community is through our covenant, that is, through a set of promises that we make. It may be easier for everyone if we put our covenant into writing — it definitely makes it easier for newcomers to figure out who we are — but really what’s important about any covenant is the way we live it out in real life.

    I think I can make this clearer to you if I tell you where our idea of covenant comes from.

    You probably know that the idea of covenant is at the center of three major world religions: Judaism, Christianity, and Islam. All three of these religions trace themselves back to the figure of Abraham in the Hebrew Bible. Abraham, says the Hebrew Bible, made a covenant with the god whose name cannot be pronounced, whom we’ll call Adonai. Let me tell you the story of Abraham and his covenant with Adonai (for those of you who are Bible geeks, this is in Genesis 12-18, 20-22):

    The story begins in most ancient times. There’s that flood, where Noah built the ark; somewhere in there there’s the Tower of Babel; anyway, one of Noah’s great-great-great-great-great-great-great-grandsons was a man named Abram, or Avram. (If I counted right, that’s ten generations from Noah to Abram; it would be as if Noah was the first members of our New Bedford church, and Abram was one of his descendants living today.)

    As the story opens, Abram is living in a place called Haran with his wife Sarai, and his father Terah. Terah dies, and Abram decides to move into the land of Canaan — he and his family are semi-nomadic, they live in tents and move around a lot. But how does Abram decide it’s time to move into Canaan? Adonai — this is the same god named Adonai who told Noah to build the ark because there was a flood coming — Adonai appears to Abram, and tells him: “Go you forth from your land, from your kindred, from your father’s house, to the land I will let you see. I will make a great nation of you and will give you blessing and will make your names great…” (Everett Fox trans., Gen. 12.1-2) In other words, Adonai promises certain things to Abram — blessings, greatness, and so on — if Abram will promise in return to do what Adonai says, beginning with going into the land of Canaan. This is the beginning of Adonai’s covenant, or set of promises, with Abram.

    Abram tells everyone to pack up, and they all move into Canaan. When they get there, Adonai appears to Abram and says again, I’m giving this land to you and your descendants. So Abram builds a temple to Adonai, which probably was a platform made out of stones, an altar to offer up burnt offerings.

    Then there was a famine in the land, and so Abram had to go to Egypt, and he underwent all kinds of adventures there, but Adonai looked out for him the whole time. And Adonai kept promising Abram that the land of Canaan was going to belong to him and to his descendants. Problem was, Abram had no descendants; he and Sarai were in their nineties, and they didn’t have any children. But Adonai tells Abram not to worry, and promises yet again that all this land will belong to him and to his descendants. And Adonai makes more promises — he adds to the covenant with Abram — as follows: Abram has to change his name to Abraham, and his wife’s name to Sarah; Abraham has to make sure every man in his tribe is circumcised; Abraham has to promise that he and all his kinfolk and all his descendants will keep Adonai as their god, and obey Adonai. In return, Adonai promises that Abraham and Sarah will have a son; they will have lots of descendants, who will make great nations; some of his descendants will be kings; he and his descendants will own the land of Canaan in perpetuity.

    To which Abraham responds: “Whaddya mean, Sarah and I are gonna have a son? I’m ninety-nine years old, for Pete’s sake, and Sarah is ninety. How are we gonna have a child?” But Adonai says, “Trust me.” So Abraham trusts him, goes back, and makes all his male kinfolk and all his male slaves get circumcised. Then Adonai, being all-powerful, makes sure that Sarah gets pregnant. Abraham and Sarah are overjoyed when they have a baby boy, whom they name Isaac.

    Then Adonai tests Abraham. Adonai appears to Abraham, and tells him: OK, you have to sacrifice Isaac to me. Sacrifice, as in kill your son, and offer him up as a burnt offering on that altar you made for me. Sacrifice, as in murder your son because Adonai tells you to do so.

    (At this point in the story, I can’t resist interjecting a little parenthetical comment: I am glad that the children are up in the Sunday school, and not with us right now to hear this story. I really don’t want to tell one of our children about God telling someone to kill his child; it sends the wrong message to our children. We really want to be careful about the Bible stories we tell to our kids. Now back to the story:)

    So Abraham says, Yes, Adonai, whatever you say, and he takes Isaac out to the stone altar, lays Isaac down under a big pile of firewood, and gets ready to kill him and burn his body. At the very last minute, Adonai stops Abraham from killing Isaac, and makes a sheep appear magically, so Abraham kills the sheep and turns it into a burnt offering instead of his son.

    If you’re like me, your first reaction will be: What a gruesome story! — how could Adonai test a father in this way? — and how could a father actually consent to sacrifice one of his children? Based on such a reaction, we might conclude: The whole reason Abraham is willing to kill his own son is because of his covenant with Adonai; because of the promises he has made to his god Adonai. This does not make covenants seem particularly attractive.

    But before we jump to conclusions, let’s stop for a moment and do a more considered analysis of the story. If we put aside traditional Christian and Jewish notions of god for just a moment, we realize the story is not quite as simple as we might have though. First of all, it is clear from the Hebrew Bible that Adonai had competition, that there were other gods and goddesses out there. Abraham didn’t have to choose Adonai; he could have chosen another god, or no god at all. Abraham chose Adonai freely, and furthermore it seems to me that Abraham went into the covenant with his eyes wide open; he knew that the benefits Adonai offered would come at a high price.

    And if we pause to give this story even more careful consideration, we would have to ask ourselves why we are taking this story so literally. Is this story any worse than the fairy tales we read to children? Think about the story of Hansel and Gretel, where the witch eats children, which is pretty gruesome. Think about all those other fairy tales where parents kill their children. Yet we don’t take fairy tales like Hansel and Gretel literally; we treat them as a myths, as stories which often contain psychological truths, but which are not literally true. We can treat story of Abraham and Isaac in the same way.

    Considered as a myth containing psychological truth, the story of Abraham and Isaac can tell us something important about covenants. You will recall that a covenant is a set of promises where you promise something, and get something in return. Take the implicit unwritten covenant of the New Bedford church: in our implicit covenant with one another, we promise to come together in love; we promise to seek truth and goodness; we promise to transform ourselves spiritually; we promise to care for one another; and we promise to go out and make the world a better place. We promise those things, and in return we get to be part of a community based on love; we get companions to accompany us on the often unpleasant journey towards truth and goodness; we get other people caring for us; and we get help as we try to change the world into a better place.

    When I look at the unwritten New Bedford covenant, the first thing that I notice is that these promises are hard to keep. Come together in love? — in every church I’ve been a part of, that has been a promise that has been broken as much as it has been observed: people behave just as badly in church as they do out of church! Companions on the journey to truth and goodness? — that means people telling me when I’m being stupid and avoiding the truth, and letting me know when I have done something wrong; it hurts when people let me know that I’m stupid or wrong. Care for one another? — it’s hard to actually care for one another, especially back in New England where often people don’t want to be cared for, and where the general culture is to keep people at arm’s length and neither ask for nor receive help. Change the world into a better place? — that’s hard work, and we often disagree on how to accomplish that, and besides it takes time away from doing fun things like watching TV and playing video games.

    These promises we make to one another are idealistic, and they are difficult to keep. Sometimes I think it would be easier to just swallow the creeds they want you to believe in a fundamentalist church — it might be easier than actually having to live out the promises we make to other people, the promises we make to something greater than our selves.

    So we come back to the story where Adonai told Abraham to sacrifice his son Isaac. It is a psychologically impossible act, yet somehow Abraham brought himself to do it — or at least, he started to do it, until Adonai said, Stop! you don’t really have to kill Isaac. Similarly, we make impossible promises to one another as part of our covenant; the promises we make to each other don’t involve any actually killing of our firstborn children. Yet the promises we make to each other are demanding in their own way because we know that some god isn’t going to come along at the last moment and say, “Just fooling! you don’t really have to treat each other with love, or go off together on a search for truth, or care for others (and be cared for!), or make the world a better place.” We know that we will have to follow through on our own promises.

    This is why I find the story of Abraham and Isaac so powerful: because it tells me a psychological truth. The story reminds me that it is hard to keep promises; the story reminds me that it is hard to be a part of a caring religious community. We know that even though we make promises to one another, they are promises that are hard to keep; and because we are imperfect human beings, we will occasionally break our promises to one another. And yet, the story tells us another psychological truth: that even though at times it will seem impossible for us to keep our promises to one another, we can find a way to do it; and we can find a way that won’t involve killing anyone.

    At this point you may well ask: Why not just forget about these old fairy tales? Why not just do away with covenants, and even religion, altogether?

    Ralph Waldo Emerson allegedly said, “A person will worship something — have no doubt about that.” When you find out what someone worships, then you will have a measure of that person. In our society, there are lots of things to worship: People worship money and consumer goods (I’ll bet most of us do this, to a greater or lesser extent); and if someone worships consumer goods, you have the true measure of that person, someone who worships something impermanent that will wear out as soon as the warranty ends. People worship sports and pop musicians and celebrities; and there you have the true measure of those people, because they worship figures of fantasy who will fade away when they are no longer pretty, or musical, or able to play sports well.

    The point of our covenant is that we are worshipping something greater, more permanent, and much more significant. When we establish a covenant, we are saying that we shall worship that which is greater than our selves, which some of us call God and some of us prefer to call the highest and best in humanity. When we establish a covenant, we are saying that our worship is not done on bended knee and with a great show of ritual, but rather it is done is our daily lives, in the way we live out our promises. When we establish a covenant amongst ourselves, we are saying that we want to establish goodness and truth that our children will carry on after us, goodness and truth that will last for generations.

    In this way, our covenant lies at the center of our religious community. We can ignore each other’s religious beliefs. But people certainly notice what I do with my life, how I live out my values. The point of a covenant is to establish a community that helps me live out my values; a community that supports me when I am weak or suffering or when I don’t have the strength to live out my values. A covenant provides a community in which I can (and will) transform myself, so that I can in turn go out and transform the world into a better place.

    All this goes back to that old, old story about the covenant that Abraham made with Adonai. At first, it seems like a crazy story. But when you think about it, you realize it’s telling us something important: it’s telling us that if we want to live out our highest values in the world, it will not be easy to do so, and we know we won’t be able to do it alone.

  • The Weary Blues

    This sermon was preached by Rev. Dan Harper at First Unitarian Church in New Bedford. As usual, the sermon below is a reading text. The actual sermon as preached contained improvisation and extemporaneous remarks. Sermon copyright (c) 2009 Daniel Harper.

    Readings

    The first reading was the poem “The Weary Blues” by Langston Hughes. This poem is not included here due to copyright restrictions.

    The second reading was the poem by Langston Hughes, titled “The Ballad Of The Landlord” This poem is not included here due to copyright restrictions.

    Sermon — “The Weary Blues”

    This is Black History Month, and in three sermons this month I proposed to speak to you about three different Black poets; more specifically, about three American poets of African descent. Last week, I spoke about James Weldon Johnson; and this week I would like to speak about Langston Hughes.

    If you were here last week, you heard me say that poets make the world; and I meant that in a broad sense of poetry, where poets make language and language makes our world. This is not some supernatural magic trick; rather it is a statement about the basic being of the universe. There is a fundamental connection between language — between what we speak and hear and write and read — a connection between language, and the very core of That Which Is.

    I want to be careful to tell you exactly what I mean by a poem. A poem is not just something that sits there on the page, and you read it, or your high school English teacher makes you read it, and that’s the end of it. A poem is language that is meant to change you, and maybe change the world around you. A few poems are meant to be looked at, like paintings, but mostly you have to say poems aloud for them to change you, or change the world around you; and if you can chant them or intone them or sing them, sometimes that increases their power.

    I’d even say that poetry and music are much the same thing; — two points on a continuum that stretches from ordinary conversation to the most abstract music. It is not always clear to me where the spoken word ends, and music begins. What is clear to me is the power of poetry, and music, to change us; more specifically, the power of poetry and music to heal us, to heal our souls, to heal our selves.

    But how does this happen? How is it that poetry heals and changes us? This is why I want to speak with you this morning about the poems of Langston Hughes. More than most poets, his poetry is musical. More than most poets, his poetry has the power to heal and change and transform. And his poetry has helped me to understand a little bit of how it is that music transforms and heals us.

    …

    Just before the sermon, I read one of Langston Hughes’s best-known poems, “The Ballad of the Landlord.” This is a poem that tells a story, which goes something like this:

    Here’s a man (or is it a woman?) who lives in a run-down old house. This house is some place in the United States, and it’s sixty or seventy years ago, and the landlord appears to me to be white. At least he acts like a white person of sixty or seventy years ago; because he has an African American tenant, he doesn’t bother fixing the roof, or fixing the broken-down steps that lead up to the front door of the old run-down house.

    The landlord has stopped by to collect the rent. The tenant reminds him about all that’s wrong with the house. The landlord doesn’t pay any attention. The tenant gets increasingly frustrated, and finally says, I’m not going to pay you any rent, and if you keep talking so high and mighty, why I’ll sock you one. But the landlord is white, and doesn’t stand for being threatened by black folk. The landlord calls the cops, who arrest the tenant. The tenant is charged and convicted of assault, and sent to jail.

    Through this whole poem, we know the landlord is in the wrong. We know that the tenant’s anger is justified, and we’re rooting for the tenant. When we get to the end of the poem, when the full force of the law is used to perpetuate injustice, we share in the anger of that tenant, and we know we have to work to correct that kind of injustice in the world. Even though this is just a made-up story, we hear the ring of truth in it — for all good poems are true; truth is what makes them good poems. We hear the ring of truth, and we hear as well a call to heal and change a world in which such injustice can exist.

    When we address injustice in the world, we are healing the world. That’s what this poem does; and that reveals to us a connection between poetry and religion, since religion is also supposed to heal the world. This is a significant point for us religious liberals, because we tend to dismiss the fact that healing is a central part of religion. Too much of religion is obsessed with faith healing, miraculous cures where some father God makes it all better without much effort on our part. We are right to dismiss such kinds of religious healing. Yet we cannot dismiss the fact that healing is central to religion. Part of the purpose of religion is to heal the world; part of the purpose of religion is to heal our souls when we are damaged by the injustice of the world.

    When I say “healing,” I don’t necessarily mean sitting there passively and waiting for some healing energy to do its work. The story of the tenant and the landlord force us to confront an ethical problem: the full power of the law and the police can be used to cause injustice. Once you start chewing over that ethical problem, it’s hard to simply sit there and enjoy the beauty of the poem. We find that the poem calls us to do something. How does this poem heal and change the world? — the poem calls us to rouse ourselves and heal the world by correcting injustice.

    …

    It is very good that poetry heals and changes the world, and I know that will help heal me in the long run, but sometimes I need some more personal healing. It’s fine and noble to say that I’m going to go out and heal the world, but sometimes life has got me down so that I don’t have the energy to do that. What then? Forget the world for a moment — how is poetry going to heal me?

    To answer that, I’d like to speak about the blues. “The Ballad of the Landlord” makes us want to heal the world, but another poem by Langston Hughes, “The Weary Blues,” describes to us how to heal our own souls.

    And what are the blues? The African American humanist theologian Anthony Pinn is one of those who has pointed out that the blues are a form of musical expression through which “enslaved Africans wrestled with existential questions forced by the absurdity of slavery.” Pinn tells us: “Through this music, they sought to make sense of the world and provide a framework for life. Within the spirituals, the manner in which traditional religious doctrine dominated this rationale for life is apparent. However,… there were other forms of musical expression that did not embrace the basic doctrine of the Christian church, or other traditional forms of religious expression.”

    Now Anthony Pinn is a theologian, which means that he is somewhat caught up in the theory. What I have found is that when you put his theory in practice, you find that the blues can be a legitimate form of religious expression; some blues songs are a kind of humanist hymn. They provide serious answers to religious and existential questions. When you’re singing the blues, if you have trouble in mind, you don’t call on God to solve all your troubles — you laugh to keep from crying; you go down by the riverside and rock those blues away; and you know that somehow the sun’s gonna shine on you someday — these are humanist hymns because you don’t call on God to fix your problems for you. In the poem “The Weary Blues,” there is no God who comes down to solve the problems of the unnamed musician who is singing and playing the piano; there is no God to come and take away the pain of living. The musician plays and sings, and that heals him, a little. He is not completely healed; but at least he can sleep that night. So it is that the blues have a healing power.

    None of this rules out traditional religious music as healing music. Traditional religious music that calls on God can heal the soul, too. But sometimes religious music pretends to heal, when it really doesn’t heal. Religious music, and religion itself, pretends to heal when it merely distracts us with God and deadens us to the pain and anguish we experience in the here and now; and by deadening us, the pain appears to go away, but we don’t actually heal. The same is sometimes true of the blues: sometimes the blues pretend to heal us, but instead distract us with a catchy melody and a danceable beat, serving merely to deaden us to the pain we’re in.

    When the pain we feel is deadened, but nothing else happens, that is false healing. Rather than deadening pain, the blues give us enough distance so that we can feel the pain without becoming overwhelmed by it; herein lies the power of the blues. The music and the poetry of the words channel the pain into something constructive rather than destructive. True healing allows us to regain strength and wholeness. The poetry of the blues allows us to regain strength and wholeness: it is musical poetry that has the power to heal us and change us.

    Of course that is also the purpose of these Sunday morning worship services. We come here to be healed, we come here to feel we can be made whole. And how do we do this? We do this with words and with poetry and with musical poetry. We have conversations together; we listen to the spoken word; we listen to poetry and scripture that is read aloud; we sing songs together. You may have a conversation on a Sunday morning after church where someone says something to you that somehow changes you for the better; just a small thing, just a small change for the better; but that small change may do more to heal you than all the sermon and poetry and songs during the worship service; and in that sense, that conversation is a kind of poetry (for you, at that time). I have never heard a sermon that is poetry the way Langston Hughes writes poetry, but I have heard sermons that in a specific time and place healed my soul, and for that moment there were better poetry than anything Hughes ever wrote.

    Poetry has power in it; it has the power to heal us. What we try to do here on Sunday morning is kind of poetry. We create a time and a place where words and poetry and music can heal and change us. We get through the pain of living, we get through the anger at injustice, and in doing so we aim to hold onto our dreams.

    …

    We aim to hold on to our dreams. It’s not a good idea to defer dreams for too long, because deferred dreams can turn into anger — and once you get mired in anger and pain, you wind up deferring your dreams. There’s an awful lot of pain and anger that comes with living. When you think of all the injustice that exists in the world, how can we possibly get rid of all the anger? When sadness enters our souls, how can we possibly get rid of all the pain? I don’t think it’s possible to get rid of all the anger and pain — the world is too full of anger and pain — but we can be sure the anger and pain doesn’t hold us down.

    So it is that healing from pain and anger requires us to hold onto our dreams. We have to get through the pain that life can bring; that doesn’t mean we have to get rid of pain, we just have to get through it. We have to get through the anger; that doesn’t mean we have to get rid of it, we just have to get through it.

    Langston Hughes wrote a poem called “Dream-Dust” that goes like this:
      Gather out of star-dust
        Earth-dust,
        Cloud-dust,
        Storm-dust,
      And splinters of hail
      One handful of dream-dust
        Not for sale.

    Poetry collects from life the earth-dust, the cloud-dust, the storm-dust, the splinters of hail, and distills these elements of life into dream-dust. In this way, poetry helps us hold onto our dreams.

    If you come to church regularly, you have heard me say that religious scriptures are a kind of poetry; religious scriptures at their best distill the elements of life and make dreams out of them. Holding on to dreams is one of the things we do in our religious communities; it’s one of the things we try to do here each Sunday. We collect the elements of life — the joys and sorrows, the pain and the joy — and we take an hour or so each week to distill dreams out of our lives. Some of the dreams are personal — your dreams, my dreams. Some of the dreams belong to us all, like the dream of an earth made fair and all her people one. Our religious community is based on poetry, both the poetry of ancient religious scriptures and contemporary poetry like that of Langston Hughes. We come here to hold onto dreams, keeping them safe until they can become reality.

    All too often our dreams get deferred. For African Americans, the dream of true equality has been deferred too long; indeed, for too many racial and ethnic minorities, the dream of equality has been deferred for too long. Sometimes the world around us seems to conspire to keep our dreams from becoming a reality. When that happens, we have to do something that allows us to hold on to our dreams. Like that old dream of earth made fair and all her people one — we have been dreaming that dream from more than two thousand years, and while sometimes we seem to make some progress towards it, that dream has not yet become our reality. Yet we keep that dream bright and untarnished. So it is that poetry, and communities founded on poetry, helps us to hold on to our dreams.

    …

    How is it that poetry heals and changes us? Poetry heals us and changes us by calling to rouse ourselves and go out and heal the world by correcting injustice. Poetry heals us and changes us by allowing us to get through the pain of living, to get through the anger at injustice. Poetry heals us and changes us by helping us to hold onto our dreams, and keep them bright and untarnished. Communities that are founded on poetry, like our church community, do the same thing: in communities like this one, we are healed and changed by healing the world; we are healed by having a place to deal with personal pain and heartache; we are healed and changed by the dreams that we hold together.

    And when we are healed and changed, we might just find that we have renewed strength to go out and help to heal the world.

  • Lift Every Voice and Sing

    This sermon was preached by Rev. Dan Harper at First Unitarian Church in New Bedford. As usual, the sermon below is a reading text. The actual sermon as preached contained improvisation and extemporaneous remarks. Sermon copyright (c) 2009 Daniel Harper.

    Readings

    The first reading was poem by James Weldon Johnson, the poem “O Black and Unknown Bards.” It is not included here due to copyright restrictions.

    The second reading is from James Weldon Johnson’s autobiography Along This Way.

    “I admit that through my adult life I have lacked religiosity. But I make no boast of it; understanding, as I do, how essential religion is to many, many people. For that reason, I have little patience with the zealot who is forever trying to prove to others that they do not need religion; that they would be better off without it. Such a one is no less a zealot than the religionist who contends that all who “do not believe” will be consigned to eternal hell fires. It is simply that I have not felt the need of religion in the commonplace sense of the term. I have derived spiritual values in life from other sources than worship and prayer. I think that the teachings of Jesus Christ embody the loftiest ethical and spiritual concepts the human mind has yet borne. I do not know if there is a personal God; I do not see how I can know; and I do not see how my knowing can matter. What does matter, I believe, is how I deal with myself and how I deal with my fellows. I feel that I can practice a conduct toward myself and toward my fellows that will constitute the basis for an adequate religion, a religion that may comprehend spirituality and beauty and serene happiness….

    The human mind racks itself over the never-to-be-known answer to the great riddle, and all that is clearly revealed is the fate that man must continue to hope and struggle on; that each day, if he would not be lost, he must with renewed courage take a fresh hold on life and face with fortitude the turns of circumstances. To do this, he needs to be able at times to touch God; let the idea of God mean to him what it may.”

    Sermon — “Lift Every Voice”

    This year, during Black History Month, I wanted to speak with you about Black poets; more specifically, about American poets of African descent.

    I want to speak to you about poets out of a deep theological concern. Poets make the world; taking poetry in its broadest sense. When I say that poets make the world, I don’t mean that they wave a magic wand, or wave their hand and say magic words, and — Poof! — they create some object, like a stage magician. But I do mean to say that there is a basic connection between language — between what we speak and hear and write and read — a connection between language, and the very core of our beings.

    Thus it is that poets make the world: their poems are not expressions of feelings so much as they are manifestations of our existence. This is why religious scriptures are so powerful to us: they are a form of poetry, and like all great poems religious scriptures make the world anew. There was nothing like it in the world before, when some ancient poet captured the essence of Moses in his words to Pharaoh: Let my people go. There was nothing like it in the world before, when some ancient poet captured the essence of Gotama Buddha in the words: There is a middle path that leads to peace of mind. There was nothing like it in the world before, when some ancient poet captured the essence of Jesus in the words: Love your neighbor as yourself. When I say that poets make the world, I don’t necessarily mean people who who write things in a form which your high school English teacher would tell you is a poem. What I mean by poets are those masters of language who, through their language, change our beings; poets are those who transform us and the world.

    As religious liberals we are always open to new sources of inspiration. This is what we mean when we say that we are not orthodox: we do not have one correct source for religion, one book or text that is frozen for all time. We remain open to new sources of inspiration; revelation is not sealed for us, revelation continues to emerge around and through us. And today, revelation continues to emerge most clearly, I believe, in poetry, or in works of prose that function as poetry.

    Now you know why I want to talk with you about poets, and their poetry. And why talk specifically about Black poets? Well, there are many things in our society that I would like to transform, but one of the great moral problems facing us in the United States today is the problem of systemic racism — and when I say “systemic racism,” I am not concerned with individual prejudice but rather with that impersonal system of racial inequality that continues to permeate American society. White, black, no matter what color our skin, none of us likes systemic racism. So how can we transform this reality or systemic racism? I’m afraid that too many of our white poets have ignored this compelling moral question; and so I find myself turning to certain African American poets.

    …

    In this first sermon in this series on Black poets, I thought I’d begin with the most influential Black poet. No, I’m not going to talk about Alice Walker, or Gwendolyn Brooks, or Langston Hughes, or — name the famous African American poet you might think I should preach on. I’m going to begin with James Weldon Johnson, in the full knowledge that his may be an unfamiliar name.

    Yet I will say without doubt (without doubt in my mind, anyway) and without equivocation that James Weldon Johnson is our most influential Black poet. I am aware that there are some English professors in our congregation, and I would be foolish to make a judgment about literary quality; so I will not claim that James Weldon Johnson is our best African American poet. So Johnson is not our best poet, nor our most famous poet, but I still claim him as our most influential poet. And I make that claim on the basis of one poem he wrote, a poem which was written as a hymn.

    Here’s the story of that hymn. The year was 1900; the place, Jacksonville, Florida. James Johnson and his brother Rosamond had been in New York City writing popular songs for Broadway; at the time of this story, they were back in their hometown and James was working as a school principal. Here is how James tells the story:

    “A group of young men decided to hold on February 12 a celebration of Lincoln’s birthday…. My thoughts began buzzing around a central idea of writing a poem on Lincoln, but I couldn’t net them. So I gave up the project as beyond me…. My central idea, however, took on another form. I talked over with my brother the thought I had in mind, and we planned to write a song to be sung as part of the exercises. We planned, better still, to have it sung by school children — a chorus of five hundred voices.

    “I got my first line:– Lift ev’ry voice and sing. Not a startling line, but I worked along grinding out the next five. When, near the end of the first stanza, there came to me the lines:

        Sing a song full of the faith that the dark past has taught us
        Sing a song full of the hope that the present has brought us

    the spirit of the poem had taken hold of me. I finished the stanza and turned it over to Rosamond.

    “In composing the two other stanzas I did not use pen and paper. While my brother worked at his musical setting I paced back and forth on the front porch, repeating the lines over and over to myself…. As I worked through the opening and middle lines of the last stanza… I could not keep back the tears, and made no effort to do so. I was experiencing the transports of the poet’s ecstasy. Feverish ecstasy was followed by that contentment — that sense of serene joy — which makes artistic creation the most complete of human experiences.”

    That’s how James Weldon Johnson describes writing the poem which became the hymn “Lift Ev’ry Voice and Sing.” I wanted to read that aloud because it helps explain why sometime when I sing “Life Ev’ry Voice and Sing,” tears come to my eyes. There is something in that poem that worked on Johnson while he was writing the poem, and which still works on me today.

    Johnson finished the poem, his brother set it to music, and they sent it to their music publisher in New York, and got enough mimeographed copies to distribute to their children’s chorus; they taught it to the children; the new song was a great success; and James and Rosamond went back to writing songs for Broadway. But the song took on a life of its own. Within a few decades, it had spread throughout much of the United States, and had been adopted by the National Association for the Advancement of Colored People. James Johnson said that his song got its widest distribution, not through copies obtained from his music publisher, but through “printed or typewritten copies of the words pasted in the backs of hymnals and the songbooks used in Sunday schools, Y.M.C.A’s, and similar institutions.” In other words, the song took on a life of its own; it spread because it touched something deep within people’s hearts; and it spread beyond Black America to White America as well.

    So why did this poem — not a great poem, perhaps — why did it become such an influential poem? I can think of a number of reasons why this poem is so influential. It is influential because Johnson’s words rang true; even if his words aren’t great poetry, his words have the ring of truth. It is influential because we sing this poem: we embody this poem with our breath and our voices, and then it blends together with the other voices singing it around us, and takes on a peculiar power in this way. It is influential because it is easy to memorize: I have a poor memory, and even I can remember most of the first verse.

    For all these reasons, we still sing this song more than a century after it was written; it is still considered the African American national hymn; and I continue to be impressed how, when you start singing this hymn with a group of Americans, how many of them (even us white Americans) know at least some of the first verse. And if a poem — I mean “poem” in the broader sense of the word — if a poem is going to transform us, one way that happens best is if we know that poem by heart, and if we say it (or sing it) aloud; and the power of that poem to transform us increases even more if it is a poem that we say or sing together.

    I have some thoughts on how this song transforms us. For many of us who live in the United States, “freedom” and “liberty” seem to have become tired words. “Freedom” — that old stuff, we don’t need to hear about that, that all got taken care of in 1776. “Liberty” — well, the Liberty Bell is cracked, and that should tell you about the state of liberty in this country. What James Johnson manages to do in “Lift Ev’ry Voice and Sing” is to remind us that freedom and liberty were not won in 1776; nor were they won on January 1, 1863; nor were they won when the Civil rights Act was signed; nor, most probably, will they ever be completely won for any of us, black or white or whatever our skin color. When I sing “Lift Ev’ry Voice and Sing,” I am reminded that human beings have a hard time living up to their ideals; and I am reminded that freedom and liberty are a process, not an end-state.

    …

    Johnson was in his twenties when he wrote “Lift Ev’ry Voice and Sing.” He went on to write other, better-regarded poems and novels and books. Perhaps his best-known book of poems is a small volume called God’s Trombones, beloved of religious liberals. But I’d like to skip past all that, skip ahead to a book he put together with his brother Rosamond in 1925 when he was in his mid-fifties.

    This was their Book of American Negro Spirituals. It is but one of many collections of African American songs and spirituals, but it is important, I think, in large part because Johnson placed one of his best poems at the beginning of the book, the poem we heard in the first reading this morning, “O Black and Unknown Bards.” This poem tells us why we should pay attention to a book of African American spirituals. Johnson elaborates on the thoughts in the poem in his prose introduction to the book, in which he says:

    “To supply [the slave] trade Africa was raped of millions of men, women, and children. As many as survived the passage were immediately thrown into slavery. These people came from various localities in Africa. They did not all speak the same language. here they were, suddenly cut off from the moorings of their native culture, scattered without regard to their old tribal affiliations, having to adjust themselves to a completely alien civilization, having to learn a strange language, and, moreover, held under an increasingly harsh system of slavery; yet it was from these people this mass of noble music sprang; this music which is America’s only folk music and, up to this time, the finest distinctive artistic contribution she has to offer the world…. Take, for example, ‘Go Down, Moses’: there is not a nobler theme in the whole musical literature of the world….”

    Johnson is telling us about the power of poetry to transform the world. Now we could argue the relative merits of African American spirituals, and whether they are indeed the only American folk music, and so on, and so on. There is a place for such scholarly arguments, but Johnson is making a poetic argument here. He is telling us this: Faced with an impossible situation — an alien civilization, the degradations of slavery, a strange new language — faced with these harsh conditions, African Americans made poetry; and with their poetry, they transformed their souls with nobility, and so transformed the world around them.

    These songs continue to transform us, transform all of us here in America. Yes, these old spirituals have a special place in the cultural lives of African Americans, but their poetry can transform all of us. When we sing or listen to these songs, we get connected to those early people of African descent who were forced to come live in America; and we understand the nobility of their souls, a nobility that allowed them to retain their humanity in the face inhuman conditions.

    So it is that all of us — African Americans, European Americans, Asian Americans, Native Americans — we all are made a little more noble, and that nobility becomes a part of who we are as a people. This nobility breaks down systemic racism, just a little. By allowing us to share in that nobility of soul, we find our own souls becoming a little more noble, and such nobility can serve as a sort of vaccine against impersonal, infectious systemic racism taking hold in our souls.

    …

    I wanted to close with brief word about James Weldon Johnson’s understanding of religion. We heard some of his ideas on religion in the second reading this morning. Given the ideas on religion he expresses, I like imagine that Johnson would have felt quite at home in our Unitarian Universalist church. He would even have felt at home in this church back when he wrote those words in 1933, back when the minister here was a staunch humanist named Stanton Hodgin — well, he would have felt welcome here except for the fact that he was black, and in 1933 this church was very definitely a white church. Those were different times back then, racially speaking.

    Be that as it may, I still like to imagine what Johnson would have felt if he could show up in our church today. I like to imagine saying to him: You know, what you said back in 1933 — that’s pretty much what I preach from the pulpit; and what you say is pretty much what we do in our church: we don’t have religion in the commonplace sense of the term (which is these parts means orthodox Christianity); we try to practice conduct towards ourselves and our neighbors that constitutes our basis for religion; we feel Jesus is a great spiritual and ethical thinker who inspires us; and each day, if we would not be lost, we take a fresh hold of life, and we renew our courage to do this by touching the face of God, whatever God may mean to each one of us individually.

    These religious ideas permeate all of Johnson’s poetry. He is not one of our best known American poets. But he is a deeply human poet, and a humane poet. Even if the critics don’t place him into the first ranks of American poetry, his humanity counts for a great deal. No, he didn’t write anything that is considered as great as T. S. Eliot’s “The Waste Land”; but far more people know and have memorized and have been transformed by “Lift Ev’ry Voice and Sing.”

    By singing “Life Ev’ry Voice and Sing,” or any of the songs in The Book of American Negro Spirituals, we become for that moment poets ourselves. We bring that written poetry to life by singing, or even just saying the words aloud. In so doing, we transform ourselves, we transform the world, we create new understandings of what it is to be human in America, we make ourselves just a little bit more noble.