Posts Tagged ‘christian’

Dear Readers,

My book is finally available in print on Amazon after a long delay. My father wanted me to finish this project, so I have completed it as a tribute to him.

You can view it at this link:

Drifting into the Divine

It’s also still available on Kindle if that is better for you.

Please feel free to send me a note about your reading experience if you wish, and pray that my story will benefit someone on their own spiritual journey.

Peace & Grace,

Olive ♥

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I want to thank those of you who have continued to drop into my site during my absence. I have not been able to write much due to family matters & health concerns, but your notes and visits have meant a great deal to me.

During the past month, I have finally been able to work on the print version of my book. My father intended to help me with it, but his time on Earth was cut short, so I have added some chapters in his memory. In a short time, the book will be available on Amazon. I will let you know when it is ready. Please pray that God will be pleased with it and that it might help someone along their spiritual journey.

Please continue to pray for me and I will do the same for you.

Peace & Grace,

Sister Olive ~♥~

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Devout LifeI have started reading this book as sort of a spiritual self-improvement course, and on the first page of the introduction, I found this lovely passage that I want to share with you… I feel already that this angelic fellow is speaking directly to my heart.  It’s a little spooky, especially when he keeps writing to someone that he refers to as “daughter”… I am very excited about what I will learn!

Almost all those who have written concerning the devout life have had chiefly in view persons who have altogether quitted the world; or at any rate they have taught a manner of devotion which would lead to such total retirement. But my object is to teach those who are living in towns, at court, in their own households, and whose calling obliges them to a social life, so far as externals are concerned. Such persons are apt to reject all attempt to lead a devout life under the plea of impossibility; imagining that like as no animal presumes to eat of the plant commonly called Palma Christi, so no one who is immersed in the tide of temporal affairs ought to presume to seek the palm of Christian piety.

And so I have shown them that, like as the mother-of-pearl lives in the sea without ever absorbing one drop of salt water; and as near the Chelidonian Isles springs of sweet water start forth in the midst of the ocean and as the firemoth hovers in the flames without burning her wings; even so a true stedfast soul may live in the world untainted by worldly breath, finding a well-spring of holy piety amid the bitter waves of society, and hovering amid the flames of earthly lusts without singeing the wings of its devout life. Of a truth this is not easy, and for that very reason I would have Christians bestow more care and energy than heretofore on the attempt, and thus it is that, while conscious of my own weakness, I endeavour by this book to afford some help to those who are undertaking this noble work with a generous heart.

~♥~

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But of that day or hour no man knoweth, neither the angels
in heaven, nor the Son, but the Father. 
(Mark 13:32)

I visited an Episcopal church recently, and I asked a lady the meaning of the last line of the Doxology that says “World without end.”  She was a bit embarrassed and said she wasn’t sure, because she wasn’t really “up” on theology.  Then she approached a Sunday school teacher who didn’t seem to know either, although he tried to wing it.

I guess I’m funny that way.  I like to know exactly what I’m singing and saying in my prayers.  Whose world are we referring to?  Surely it doesn’t mean our world will never end.  Or does it?  Everyone thought the world was going to end yesterday, but it didn’t! Big surprise…

Jesus said He doesn’t even know when the end of time will be, so it strikes me as funny that people keep trying to figure it out.  Why do we play these guessing games? If only Christians would read the Bible more. Christ said the end would be like a thief in the night, and that’s a pretty straightforward analogy.  He said if you knew when a thief was coming, you could bust ’em quick.  But it’s not like that…we don’t know, so we’ve got to always be prepared. It’s aggravating, I know, but that’s just how it is.

P.S.  If you know what “world without end” means, please tell me…okay? I love to learn new stuff.

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(Excerpt from “Divine Doorkeepers”)

Charles Haddon Spurgeon was a British Baptist preacher, but his style stirred the interest of Christians of all denominations.  He is referred to by many as the “Prince of Preachers”.  He was born in Kelvedon, Essex and was converted on January 6, 1850. His conversion occurred when a snow storm cut one of his journeys short and he stopped into a Primitive Methodist chapel in Colchester.

Spurgeon preached up to ten times per week in different locations during his years of ministry. He was the pastor of the New Park Street Chapel (later the Metropolitan Tabernacle) in London for thirty-eight years and was a prolific author of many types of works.  He wrote sermons, an autobiography, devotions, poetry,a hymnist, prayer books,and more. Many of his sermons were transcribed as he spoke and translated into many languages.

Charles Spurgeon has a graceful poetic style in his writing and speaking, and his voice is elevated and lyrical.  He has a remarkably sensitive and gentle voice by comparison to other evangelical authors and preachers, as he is full of comfort and encouragement.  His writing is melodious and flowing and almost angelic in its tone, and his metaphors evoke a sense of divine music.  One of his most “musical” transcribed sermons is his aptly titled “Songs in the Night” (Job 35:10, KJV).    He begins by exhorting the reader about how to maintain good cheer in the midst of distress:

Anyone can sing in the day. When the cup is full, one draws inspiration from it; when wealth rolls in abundance around them, anyone can sing to the praise of a God who gives an abundant harvest.  It is easy to sing when we can read the notes by daylight; but the skillful singer is the one who can sing when there is not a ray of light to read by—who sings from their heart, and not from a book that they can see. (Songs I-1)

This passage contains many of the poetic elements used by Fox in his epistles, such as the contrast of light and darkness, and the exhortation to sing in the thick night. The songs represent joy and the night represents times of adversity. The full cup and the harvest are images of abundance. He uses them to clarify that it takes no strength of character to be cheerful when one has wealth and comfort.

Then his images shift when he speaks of singing without any light to read the notes by, from an inward book which cannot be seen. The darkness is a symbol for the times when things appear bleak to us and we have to grope for happiness.  The “skillful singer” is a graceful metaphor for the one who can retain joy in times of tribulation, and memorizing the words as opposed to reading them re-emphasizes the skill of the vocalist. The passage is richly sensual, engaging both sight and hearing and also full of contrasts of light and darkness, joy and pain, music and silence.  Rather than merely telling the reader of joy in the midst of trials, he paints glorious pictures and makes lofty music to illustrate his message.

 Let all things go as I please—I will weave songs, weave them wherever I go, with the flowers that grow along my path; but put me in a desert, where there are no flowers, and how will I weave a chorus of praise to God? How will I make a crown for him? Let this voice be free, and this body be full of health, and I can sing God’s praise; but stop this tongue, lay me on the bed of suffering, and it is not so easy to sing from the bed, and chant high praises in the fires…confine me, chain my spirit, clip my wings, make me very sad, so that I become old like the eagle—ah! Then it is hard to sing. (Songs I-1)

His flowing musical style creates a tone of worship.  The coupling of the verb metaphor “weaving” with “songs” is aesthetically pleasing as weaving is rhythmic like musical notes.  “Chanting praises in the fire” is remarkably visual and conjures up an image of strong faith.  He writes that the desert has no flowers to weave a chorus and then asks how to make a crown of praise for God; these two sentences make the reader associate weaving with crowns, and this seems to imply the crown of thorns.  The old eagle is similar to T. S. Eliot’s verse from “Ash Wednesday” about the aged eagle that no longer stretches its wings, and both authors are speaking about mortality and loss of dreams.

While making melody can produce comfort in a troubled mind, Spurgeon is not referring to a real song, but to a supernatural state of mind which he asserts can be retained through the Spirit, which makes people resilient beyond the limits of human fortitude. The unfruitful fig tree is symbolic of the times of struggle, and the divine song represents an attitude of acceptance and peace.

He then speaks of not trying to create joy but to simply ask for it, and he uses a metaphor of an old well pump:

So, then, poor Christian, you needn’t go pumping up your poor heart to make it glad. Go to your Maker, and ask him to give you a song in the night. You are a poor dry well: you have heard it said, that when a pump is dry, you must pour water down it first of all, to prime the pump, and then you will get some up; and so, Christian, when you are dry, go to God, ask him to pour some joy down you, and then you will get some joy up from your own heart. (Songs I-2)

The water Spurgeon refers to is a metaphor for joy, and he tells readers that they are “poor dry wells.”  The old well pump was a familiar household appliance during the days in which he preached, and he uses it as a symbol for striving to find joy when the heart is troubled.  He tells his audience not to work at it on their own or “pump the well” because God can pour down the joy upon His people.

Spurgeon refers to God as the great composer of songs, meaning that God is the one who creates the joy that man cannot find inside of himself.

It may be darkness now; but I know the promises were sweet; I know I had blessed seasons in his church. I am quite sure of this; I used to enjoy myself in the ways of the Lord; and though now my paths are strewn with thorns, I know it is the King’s highway. It was a way of pleasantness once; it will be a way of pleasantness again… Christian, perhaps the best song you can sing, to cheer you in the night, is the song of yesterday morning. (Songs Part II-1)

Spurgeon suggests that people should encourage themselves by remembrance of better times, and he presents the notion of life having seasons.  Seasons illustrate that “pleasantness” will always circle around again after a time in which the path is covered in thorns. The thorns were used by Fox in his writings as well, and they are a symbol of piercing anguish and suffering in the human heart.  The King’s highway is another example of metaphor suggesting a pilgrimage. Spurgeon’s language and tone are effective, because rather than trying to appeal to the heart through abstractions, he creates imagery and music and moods through his flowing style and use of lyrical metaphors.

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(Excerpt from “Divine Doorkeepers”)

Søren Kierkegaard was a renowned Danish philosopher, theologian and religious author. He was born to an affluent family in Copenhagen, and his mother was employed as a maid in the household before marrying his father.

Kierkegaard was greatly influenced by Socrates and the Socratic method of thinking. His theological writings primarily focus on the flaws in the church institution and the crowd-driven mentality of believers. He was strongly opposed to the way that theology and organized religion had tarnished the Gospel message, and he believed that seminaries taught Christians to think and talk about God rather than to take any kind of action. His writings beg for soul-searching and an active response from the reader.

Dr. George Pattison writes of the author’s style in his introduction to Kierkegaard’s Spiritual Writings: “The discourses are not plodding expositions of ready-made dogmas, but have an almost conversational feel, sometimes serious, sometimes playful, but always seeking to open a dialogue with the reader, whose own response is anticipated and responded to” (57).

Kierkegaard tells stories about God humanizing Himself willingly out of His great love for people.  He depicts Christians as thieves and cheaters who twist the gospel to suit their own agenda. Here he portrays the struggle between worldly religion and true spirituality:  “…The Bible is very easy to understand.  But we Christians are a bunch of scheming swindlers.  We pretend to be unable to understand it because we know very well that the minute we understand, we are obliged to act accordingly…Yes, it is even dreadful to be alone with the New Testament” (Provocations 201). His representation of religious folks as “scheming swindlers” is a piercing metaphor that suggests deception and misuse of something valuable.

In one of his letters, Kierkegaard presents God as being a creator who fashioned humans in His own image, and loved them so deeply that He placed Himself into their lives. He asserts that the Incarnated God taught people about service to others by His own example.  In this passage he uses an analogy pertaining to artists and their productions to illustrate how even God lowered Himself out of compassion for humans:

If a poet or an artist puts himself into his Productions he is criticized. But that is exactly what God does, he does so in Christ. And precisely that is Christianity. The creation was really only completed when God included himself in it. Before the coming of Christ, God was certainly in the creation, but as an invisible sign, like the watermark in paper. But the creation was completed by the Incarnation because God thereby included himself in it. (Journals 324)

This statement bears resemblance to one of the parables of Jesus, in which God finally arrives on the scene Himself when his workers have rebelled against Him in the vineyard where he hired them to work (Mark 12:1-10, NKJV). These stories have power because they present the idea that God is one of our kind and that He loved us enough to get involved in our drama of sorrow and suffering and even our mortality.  Kierkegaard’s comparison to the creation without Christ as being as a watermark on paper adds a touch of mystery, because it portrays the idea that we don’t see everything that exists.

In the chapter from Provocations entitled “Behold the Birds of the Air,” Kierkegaard spins a fable about wood doves.  Using an opening like his fellow Danish author, Hans Christian Andersen, he writes of one wild dove that refuses to live in a dovecote under the care of a kind farmer: “Once upon a time there was a wood dove. It had its nest in the fearsome forest, where wonder and apprehension dwelt together, among the erect, lonely trees. But nearby, where the smoke rises up from the farmer’s house, lived some tame doves” (148). The wild dove is a metaphor for a person who chooses to live without divine authority.  The “fearsome forest” where “wonder and apprehension” live together is an aesthetic way of portraying the world and the conflicts that beset us each day.  The reader is hereby summoned into a sense of inner tension which Kierkegaard evokes to show the awful state of man without God. Through interactions between the wild dove and the tame ones, the writer portrays the inner friction between faith and the natural mind:

From now on, the wood dove began to worry. His feathers lost their glint of color, his flight lost buoyancy. He was no longer joyful; indeed, he was almost envious of the rich, tame doves… In worrying about his needs he had trapped himself in a snare in which no birdcatcher could have trapped him, trapped as only a free creature can trap himself. (Provocations 148)

The “tame doves” depict the faithful who don’t live unto themselves and need not worry about their livelihood or their future. Kierkegaard uses artful paradoxes and images to represent the anxiety that began to trouble the “free” dove, describing the loss of luster in his feathers and how he felt weighted down when he attempted to fly. The glossy feathers and lightness are symbols for joy and peace, and the lack of them implies strain and encumbrances.  The wild dove that “has trapped himself…as only a free creature can trap himself” is an apt representation for a man who cannot extricate himself from his ways because his ego is at stake. The author creates irony in that the tame birds are free and the wild bird is in bondage.

Kierkegaard was accomplished in the art of addressing controversial subjects with satire and paradox and allegorical tales, and by using graceful metaphors to illustrate his views in an evocative manner.

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(From EvangeLegends)

A nomadic tribe near Sudan reported a great miracle. They say they were traveling through the desert, and came upon a waterhole that was completely dry.  They always plan their journeys in such a way as to pass waterholes, because they don’t carry water with them.  They know the geographical locations of all of them very well, because they can die of thirst in the desert if they travel too long without water. So they knew that the nearest waterhole from that spot was too distant for them to make it alive. Many of the people in the tribe began to weep aloud, and some of them laid down to wait for death.

But one of the natives told the others that he had heard another tribe singing songs to a god named Jesus, whom they said could save people.  He asked if anyone had ever heard of Jesus before, and the others said no.  Then the man asked if they wanted to try singing to Jesus, to see if He could save them.  They all agreed, and they began to sing a song that the man had heard the other tribe singing.

They sang loudly and earnestly, and to their astonishment, a cloud began to form over them.  It got darker and heavier, and then it began to rain into the waterhole until it was filled up. After the people drank all the water they needed, they continued on their journey and told everyone they met about the amazing thing that had happened. They kept inquiring about Jesus, until they finally met some missionaries who told them all about Him and His teachings.  The entire tribe became Christians because they had called upon the name of Jesus and He had saved them from death.

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(Song Lyrics from Tim Peters)

Tim was one of my favorite musicians at a Christian coffeehouse when I lived in Oregon.  He had a delightful folksy style with a mix of humor and spirituality that I immensely admire.  I previously posted another one of his songs.  He is a very gifted and introverted fellow, and I have enjoyed singing his songs for many years.

Please see the “PAPER ANGELS” page or category for more songs and poems by friends of mine.

~♥~

I’ve been rich, I’ve been poor.

I’ve been thrown out head first through a closed door.

But I decided a long time ago

Aint gonna worry ‘bout it no more.

I’ve seen fools who could pass every test

And crooks that no one could arrest.

I finally took it to the Lord in prayer.

I said “Oh Lord, why must it be

Crooks in high places get off scot-free?”

He said, “Cast all your cares on Him.

Don’t worry about it, Slim.”

~♥~

But I’ve seen cheaters who were doing fine

And good men who had to walk the line.

I asked the Lord, I said, “Will it always have to be this way?”

He said, “I’ll be coming soon.

It may be in the morning, maybe on the first of June.

Don’t worry about some other guy.

He’ll get his by and by.”

I said “Oh Lord, if you’re a loving God,

Then why won’t you give me what I crave?”

He said, “Slim, what do you want with all that worldly trash?

You’ll only end up as its slave.”

~♥~

I said, “Lord, I know that you’ve said

That we must love our enemies,

Forgive if we want to be forgiven.

That’s why I’m down here on my knees.

And though I don’t know the reason why

Little children sometimes have to die,

I know they are with You in Paradise,

Don’t have to worry about it no more.”

~♥~

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“What is the Meaning of the Person of Gandhi the Indian?”

As a man of faith, you are troubled by the thought: what will Providence do with Gandhi? And what is the meaning of the appearance of this strange person among the statesmen and politicians of our time?

A warning from God. That is surely the meaning of the leader of the great Indian nation. Through that person, Providence is showing politicians and the statesmen of the world, even Christian ones, that there are other methods in politics than skill, wiliness and violence…

Fasting, prayer and silence! There is hardly a statesman in Europe or America who would not ironically see these three secrets of the Indian statesmen as three dry twigs pointed on the battlefield against a heap of steel, lead, fire and poison. However, Gandhi succeeds with these three “spells” of his; he succeeds to the astonishment of the whole world. And whether they want to or not, political lawmakers in England and other countries will have to add a chapter into their textbooks: “Fasting, Prayer and Silence as Powerful Weapons in Politics.”…

Those are the three sources of great spiritual power which make man victorious in battle and excellent in life. Is there a man who cannot arm himself with these weapons? And which crude force in this world can defeat these weapons? Of course, these three things do not include all of the Christian faith, but are only a part of its rules, its supernatural mysteries.

Sadly, in our time, among Christians, many of these principles are disregarded, and many wonder-working mysteries are forgotten. People have started thinking that one wins only by using steel, that the hailing clouds are dispersed only by cannons, that diseases are cured only by pills, and that everything in the world can be explained simply through electricity. Spiritual and moral energies are looked upon almost as working magic.

I think that this is the reason why ever-active Providence has chosen Gandhi, an unbaptized man, to serve as a warning to the baptized, especially those baptized people who pile up one misfortune on another upon themselves and their peoples by using ruthless and harsh means.

(This letter was written by St. Nicholas Velimirovic to a British Noble named “Charles B.”)

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Be careful how you cast your crowns- somebody could get hurt!

Milk & Honey

By: Elder Paisius the Athonite

A Christian must not be fanatic; he must have love for and be sensitive towards all people. Those who inconsiderately toss out comments, even if they are true, can cause harm.

I once met a theologian who was extremely pious, but who had the habit of speaking to the (secular) people around him in a very blunt manner; his method penetrated so deeply that it shook them very severely. He told me once: “During a gathering, I said such and such a thing to a lady.” But the way that he said it, crushed her. “Look”, I said to him, “you may be tossing golden crowns studded with diamonds to other people, but the way that you throw them can smash heads, not only the sensitive ones, but the sound ones also.”

Let’s not stone our fellow-man in a so-called “Christian manner.” The person who…

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(The Iris Diaries)

“The wind blows where it wishes, and you hear its sound, but you do not know where it comes from or where it goes. So it is with everyone who is born of the Spirit.” (John 3:8)

Iris follows the wind. She loves the comfort of encircling breezes and her hair being tossed about.  The wind whispers in her ear when she is resting in her bed and calls her secret name when it is time to awaken. She loves being like a leaf, with no knowledge of where he will carry her each day.  She clutches a stick in her right hand when she walks, and sometimes she uses it as a wand to weave the strands of air into shadowy shapes.

She seems to be a drifter, but Iris is always at work.  She inquires of the wind about where to go, and what to do.  She is like a flute that he plays in the canyons. Her ears are filled with music, and every day is an adventure on the windblown path.

The woman who loves the wind has many dreams. In one of them, she is wandering down a long misty road in search of a city, and she sees a familiar man by the wayside.  She asks him, “Can you tell me the way to the gates of the city?”  Without speaking, the man hands her a key.  He never gives her directions, as if she already knows the way.

“And whither I go ye know, and the way ye know.”  (John 14:4)

OLIVE TWIST ©2012

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I wanted to share the titles of some of my favorite books and other writings with you, many of which I read during my graduate studies.

Please let me know if you have any recommendations to share with me. 

*************************

Augustine, Saint. The Confessions of St. Augustine. New York, NY: Barnes and  Noble, 1999. Print.

Bonhoeffer, Dietrich. The Cost of Discipleship. Trans. Chr. Kaiser Verlag Munchen by R.H. Fuller. New York: Simon & Schuster (Touchstone), 1959. Print.

Buxbaum, Yitzhak. Jewish Tales of Holy Women. San Francisco: Jossey-Bass, 2002. Print.

Claiborne, Shane, and Chris Haw. Jesus for President: Politics for Ordinary Radicals. Grand Rapids, MI: The Simple Way, 2008. 150. Print.

Claiborne, Shane. The Irresistible Revolution: Living as an Ordinary Radical. Grand Rapids, Michigan: Zondervan, 2006. Print.

Dubus, Andre.  Broken Vessels:  Essays by Andre Dubus.   Boston, MA:  David R. Godine Publisher, Inc, 1991. Print.

Edwards, Jonathan. The Works of Jonathan Edwards. Vol. 4. New Haven, CT: Yale UP, 1972. Print.

Elliot, Elisabeth. The Path of Loneliness. Nashville, TN: Thomas Nelson, 1988. Print.

Finney, Charles G. The Autobiography of Charles G. Finney. Condensed and Edited by Helen Wessel. Minneapolis: Bethany House, 1977. Print.

Fox, George. The Journal of George Fox.  Edited by Rufus Jones. Richmond, IN: Friends UP, 1976. Print.

—.”Selected Epistles of George Fox.” Renascence Editions. U of Oregon, 1998.Web. 4 Nov 2010. <http://www.luminarium.org/renascence-editions/foxep.htm&gt;.

Graves, Michael P. “Functions of Key Metaphors in Early Quaker Sermons, 1671-1700.” The Quarterly Journal of Speech 69.4 (1983): 364-378. MLA International Bibliography. EBSCO. Web. 24 Nov. 2010.

Hosek, Dr. Pavel. “How Does C.S. Lewis do apologetics?.” (2003): n. pag. European Leadership Forum Research Center. Web. 20 Dec 2010. <http://www.euroleadershipresources.org/resource.php?ID=76&gt;.

Jarman, Mark. “To Make the Final Unity: Metaphor’s Matter and Spirit.” 301-318. Southern Review, 2007. Academic Search Premier. EBSCO. Web. 24 Nov. 2010.

Kierkegaard, Søren. Kierkegaard Spiritual Writings: A New Translation and Selection by George Pattison. New York: Harper Collins, 2010. 57. eBook.

. Provocations: Spiritual Writings of Kierkegaard. Ed. Charles E. Moore.  Farmington, PA:  Plough, 2002. Print.

—.  The Present Age. Trans. Alexander Dru. New York: Harper Row (Torchbook), 1962. Print.

—. The Journals of Kierkegaard (edited by Alexander Dru. New York: Harper & Brothers, 1959), 324.

Lewis, C. S. The Complete C. S. Lewis Signature Classics. New York: Harper One, 2002. Print.

—. The Four Loves. New York: Harcourt, Brace, 1960. Print.

Maharaj, Rabindranath, and Dave Hunt. Death of a Guru: A Remarkable True Story of One Man’s Search for Truth. Eugene, Oregon: Harvest House, 1977. eBook.

McKeever, Dr. Joe. “Why We Need Parables.” (2009): n. pag. Web. 20 Dec 2010. <http://www.biblestudytools.com/pastor-resources/11610729.html&gt;.

Merton, Thomas. The Seven Storey Mountain. New York: Harcourt Brace Jovanovich, 1948. Print.

Miller, Donald. Searching for God Knows What. Nashville: Thomas Nelson, 2004. Print.

Miller, Donald, and John Macmurray. To Own a Dragon: Reflections on Growing Up Without a Father. Colorado Springs: NavPress, 2006. Print.

Moody, Dwight L. The Best of Dwight L. Moody. 6th Edition. Grand Rapids, MI: Baker Book House, 1971. Print.

Mouw, Richard J. Uncommon Decency: Christian Civility in an Uncivil World. Downer’s Grove, IL: Intervarsity Press, 2010. Print.

Neihardt, John.  Black Elk Speaks: as told through John Neihardt by Nicholas Black Elk.  Lincoln, NE:  U of Nebraska P, 2000. Print.

Nouwen, Henri J. M.  The Inner Voice of Love:  A Journey Through Anguish to Freedom. New York, NY: Image Doubleday, 1996. Print.

—. The Wounded Healer: Ministry in Contemporary Society. New York, NY: Image Doubleday, 1972. Print.

Norris, Kathleen. The Cloister Walk. New York: Berkley Publishing, 1996. Print.

Savant, John. “Follow that Metaphor.” Commonweal 132.20 (2005): 17-19. Academic Search Premier. EBSCO. Web. 24 Nov. 2010.

Sempangi, F. Kefa. A Distant Grief. Glendale, CA: Regal Books, 1979. Print.

Spurgeon, Charles H. Finding Peace in Life’s Storms. New Kensington, PA: Whitaker House, 1997. Print.

—. “Songs in the Night.” Spurgeon Collection on Bible Bulletin Board.  Tony Capoccia, 2004. Web. 4 Nov 2010. <http://www.biblebb.com/files/spurgeon/2558.htm&gt;.

Ten Boom, Corrie, and C.C. Carlson. In My Father’s House. Old Tappan, NJ: Fleming H. Revell, 1976. Print.

Vaswani, Neela. You Have Given Me A Country. Louisville, Ky: Sarabande Books, 2010. Print.

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I found these beautiful gospel precepts on the “Interrupting the Silence” blog by Father Michael K. Marsh, and they really summed up my philosophy about how to live in a Christlike way. They are not just useful for monks, but for anyone trying to imitate Christ.

Interrupting the Silence

These are the seven rules of a monk:

In the first place, as scripture says,

“Love God with all your soul and all your mind.”

Then, love your fellow human beings

as you love yourself.

Fast from all evil.

Never pass judgment on anyone, for any cause.

Never do evil to anyone.

Discipline yourself and purge yourself

from material and spiritual evil.

Cultivate a modest and gentle heart.

If you can do all these things

and see only your own faults, not those of others,

the grace of our Lord Jesus Christ

will be with you abundantly.

– Sayings of the Egyptian Fathers

It would be a mistake to read these rules as applicable to only “monks.” Too often we speak as if there are different spiritualities according to one’s state of life – lay, married, single, celibate, priest, monk. The truth is there is only one spirituality, that of…

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OLIVE TWIST ©2012

“His voice was like a noise of many waters…” (Ezekiel 43:2)

A lady in lavender is summoned by the sea.  She steps to the shore in silver sandals.  She is alone and yet never alone. His voice rises like a wave. Only His voice can quench the fire in her bones.  She waits in peace for words from the depths of the ocean.  No one can see what she sees or hear what she hears.  A laughing gull cries, and the waves swirl around her ankles.  The sand beneath her pulls her inward.  She knows never to resist, but only to stand and wait and yield.  The sandpipers come closer and tip their heads.  The angel shells nod as they sink back into the sand.  The lady’s fingers search the sea breezes for strands and she weaves them into whispers.  “Yes” she says in reply to the ocean king.  The taste of salt is in her mouth. The waters recede and gifts are sprinkled around her feet.  She picks up crystalline shells and seaweed as intricate as ancient lace. Three seagulls cry together and she hears her secret name, given to her by the sea.  She slips her feet into her sandals and leaves the wind at her back.  Her silver hair reaches its tendrils forward, and her eyes see the path beyond the sea oats that are waving in the same direction.  “Ye are the salt of the earth, says the sea breeze.

The lady stops outside the prison door and sees herself in the two-sided glass.  She pulls her lavender shawl around her neck and shoulders to prepare for the coldness inside.  She waits for a beep and pushes the cold metal door open. She goes to the faceless woman behind the dark glass and asks to speak to the director.  A husky black man with oval glasses and a flat top haircut comes to the lobby and calls for her. He is wearing a navy blue polo with the facility name embroidered on the chest and matching khaki pants.  He talks into his walky-talky as he leads her over the scuffed floors and through bland bone-colored halls to his office.  She takes out her mother-of-pearl pen and fills out papers on his desk.  The two speak quietly in his carpeted cubicle and he shakes her hand softly.  She writes down some names of prisoners to visit, and he tells her what days she can come.  She rises from her chair and nods in gratitude to the man who opened the doors to her.  She knows the Voice who caused him to open the doors, but she always respects earthly authority. “He that is true, He that hath the key of David, He that opens and no man shuts, and shuts and no man opens…”

As she drives away, three mourning doves flutter over her windshield and light in the grass by the lake.  She smiles at the messengers and drives away.

Iris returns to the prison and is sent into a classroom with cheap plastic chairs and one grey table.  On the wall is a poster of a spreading green tree.  She remembers this tree from a dream.  She waits in silence.  An echo of footsteps and voices in the hallway makes her heart pound.  She twists the mother-of-pearl on her finger, and then rests her right hand on her knee.  She prays for power and grace. The heavy footsteps shuffle outside the doors, then a key turns the lock and in they come.  Young men in uniforms trudge in with hands behind their backs, heads low and weary.  Their brown plastic sandals scratch like chalk on a chalk board. One inmate is wearing red.  This means he could erupt in violence.  One boy is wearing orange.  This means suicidal. She sees tattoos and wrists carved with unknown symbols.  Her heart is grieved. What will she say to them?  The taste of salt comes to her mouth.  The young men sit down.  Their eyes startle her.  They seem so weak, so sad, so desperate.  She had not expected this.

Iris speaks softly with the prisoners, and the voice is inside of her.  The taste of salt is always on her tongue.  She is surprised how the young prisoners search her face, and look upon her as a mother.  She learns that it is not her, but the tides of the ocean are pulling upon them, and the living water is flowing out of her mouth and sometimes it trickles from her eyes.  Sometimes the prisoners cough up disfigured and unclean creatures upon the floor, where they writhe and squirm in their slimy grotesque forms.  When the salt water touches them, they cry out and die in agony at the lady’s feet.  The ocean king does the cleansing, yet the lady is rewarded as if she had done it herself.

Sometimes the water flows gently and softly. Sometimes it rumbles and powerful waves strike someone, and they are cast down and broken before the cleansing.  The will of the ocean determines the way the waters move and work on the souls in the room.  When the waters recede, the work is done and it is done well.

As Iris steps outside, a Great Heron watches her with one eye, from among the rushes.  The lady and bird nod reverently at one another.

The lady knows the power of stories.  If she can get a person to tell their story, a door cracks open and a sliver of light comes through, and suddenly she can touch their soul.  She has learned that anyone in the right moment, in the right place, in the right state of mind, can be persuaded to open the door of his soul.  She has learned to watch for the crack in the door.

It is a wonderful thing to be in the presence of stories.  It is a great net for catching souls. She watches the young inmates compete for a chance to tell their story.  They all rush in like seagulls with fierce eyes that spot a fish in the sea foam.  With eagerness they wait for their chance.  Her heart ripples with waves of joy at moments like these, when souls come out of their shells so raw and open.  They are all washed together in the tides of stories and passion and pain and love. Tears and smiles and songs come bursting forth, like hidden fish and shells from deep in the waters. This is the time when one might pluck a drowning soul from deep waters, like a luminous pearl.

In a room full of stories, a door springs open and God glides right in and glory takes place.  She witnessed it and it makes life worth living because souls make their statement and find their place of belonging.  It is priceless and it is real and it is satisfying beyond all words, in that realm where all souls fall silent.

“The secret things belong unto the Lord our God: but those things which are revealed belong unto us and to our children for ever, that we may do all the words of this law.”

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