Good Friday: Be the One

Regular readers may recall my review of Dr. Edward Siri’s book, “Walking with Mary”, which I read while spending the day over at the Dominican House of Studies.  One section of the book which particularly struck me was a story about Blessed Mother Teresa of Calcutta.  It’s not only related to Scripture, but I think appropriate for this Good Friday.

Mother Teresa had a prayer card with an image of Jesus in suffering on the front.  Below the image it bore a verse from one of the Psalms which we often hear during Lent, particularly on Good Friday or at Stations of the Cross.  Psalm 69 is one of those prophetic Psalms foretelling the “Suffering Servant”, as described more fully in the Book of Isaiah; verse 21 of the Psalm, says, “I looked for one that would comfort me, and I found no one.”

Underneath the image and the quote from the Psalms, Mother Teresa wrote, “Be the one.”

There is something disarmingly simple, but also profound about this juxtaposition.  The call from the Cross, as contained in the Psalm, is answered in the to-the-point response of Mother Teresa. Hers is not simply a pious reaction, but a command to herself.  I liked the combination so much, that I created a Lenten laptop wallpaper with both quotes on it, to remind myself on a regular basis during this season of fasting and penance what I ought to be doing more often all the year through.

Maybe you aren’t called to go out into the slums of a faraway place like Calcutta.  Yet there are people you know who could use some love, some attention, and some comfort from you.  Be the one to bring it to them.

Detail of "Christ Crucified" by Diego Velázquez (1632) The Prado, Madrid

Detail of “Christ Crucified” by Diego Velázquez (1632)
The Prado, Madrid

About these ads

Nine Inch Nails and the Attraction of Nothingness

This past Saturday evening, as happens from time to time, I returned home from a late night of pub karaoke feeling pretty wired.  I sang three songs that evening, and was still somewhat jittery from the experience.  Those of my readers who have done any performing or public speaking know that there can be a kind of shakiness and high-alert feeling you carry around with you, even an hour or two after you’ve stepped out of the spotlight.

Because I was very much awake, I turned on the television to find something to watch until I felt ready to go to bed. I happened upon “Austin City Limits”, the PBS show featuring live concert performances from Texas’ capital of weird, and a performance by the industrial rock band Nine Inch Nails.  Much to my surprise, I sat down and watched the whole thing from start to finish.  I came away strangely impressed by what I heard, but glad that I have been able to choose a different way to confront the deeply human concern we all share over nothingness.

Back in high school, when Nine Inch Nails – or “NIN” – first became popular, I was never attracted to their music.  NIN was a very different sort of group from the metal hair bands and pop-rap acts of that time, even though they went on tour with Guns N’ Roses, of all people.  My musical choices tended to be less on the full-out-sensory-assault end of the spectrum, where acts like NIN tended to congregate, and more on what the British refer to as the “shoe-gazing” end of things.  So when I sat down to watch this concert, I had no clue what to expect.

For starters, I was blown away by how engaging the band was.  NIN frontman Trent Reznor – who looks better now at nearly 50 than I remember him ever looking in his 20’s – is a dynamic, charismatic performer, reminding me of a more techie, introspective version of punk legend Henry Rollins.  His bandmates and back-up singers were, like him, all intense, focused musicians: and they had to be.

The music itself was unbelievably complex.  There was hardly anything melodic about it, even when there were actual choruses.  There were unexpected rhythm/volume/pitch changes, and unusual combinations of harmony and dissonance.  This was combined with a lyricism which, while unfortunately often scarred by profanity, expressed a very deep understanding of very human things: pain, loss, etc.

In a brief interview, Reznor commented that the band’s new album, from which the concert took its material, was probably the closest he had ever come to creating a musical composition based fully on dreams and stream-of-consciousness thinking.  That certainly came across during the show, particularly in its semi-conscious waking and nightmarish moments.  However there was also something else going on.

There is an underlying tension in all of mankind regarding the fundamental question of meaning versus nothingness.  How you choose to answer that question is going to have a significant impact on how you treat yourself, other people, and the world you live in.  And this debate, this exploration of whether there is any meaning out there, is something Reznor and his band tapped into rather powerfully in this performance.

To their credit, if one can move past the regrettable language and imagery in some of their lyrics, NIN do so in an almost contemplative way.  Despite the level of sheer noise they can achieve, particularly when expressing anger and frustration, this is not a toe-tapping kind of music, but rather something demanding that the listener actively engage his brain.  Is it pleasant? Well frankly, no: it’s decidedly unpleasant. But is it real? Oh, very much so.

This kind of creative exploration is in fact as old as mankind itself.  Look at the Book of Job or some of the Psalms, study the black paintings of Goya, or read the work of Virginia Woolf or Charles Baudelaire [N.B. whose birthday is today.]  Throughout human history, you’ll find men and women staring into the abyss, and not finding it easy to avert their eyes from the possibility that there may very well be no meaning to all of “this” around us.

I see and understand what Reznor, et al., are trying to say.  And quite frankly, I respect them for saying it.  Here, there is no papering over the hard things in life with a shallow, feckless sort of veneer, as so often occurs in contemporary culture.

Where we part ways, however, is that I am a Christian, and a Catholic one at that. So even as I witness, and at times experience first-hand, the kind of painful emotions which Reznor describes in his music, I choose to find hope and meaning in such suffering.  Rather than simply pointless, cruel occurrences, these are opportunities for me to come to understand Christ better, and hopefully draw closer to Him.

That doesn’t mean I always succeed, of course.  I can complain and moan and…well yes, swear….about perceived slights, abuses, or injustice, when I give in to such feelings.  However I hope that, over time, I’m getting at least a tiny bit better at accepting these things, even if I am very far indeed from perfection.

That being said, one has to give credit where credit is due.  I wouldn’t recommend picking up the new NIN album to listen to in the car on the way to work, any more than I would recommend you purchase a print of “Saturn Devouring His Children” by Goya to hang over the dining room table.  However the fact that a rock music concert caused me to pause, listen, and reflect, is something which for me, does not happen very often at all. And in the end I’m actually rather grateful I had that opportunity.

Trent Reznor of Nine Inch Nails performing on PBS'  "Austin City Limits"

Trent Reznor of Nine Inch Nails performing on PBS’ “Austin City Limits”

A Message from Mrs. Kennedy

Fifty years ago yesterday, First Lady Jacqueline Bouvier Kennedy went on camera for the first time following the assassination and funeral of her husband, President John F. Kennedy, to thank the nation for the outpouring of support she and her children received.  This brief film was shown around the country in movie theatres as a newsreel, and exists in two different versions – one showing Mrs. Kennedy seated with Robert and Edward Kennedy, and the other of her shown from the side.  Both are worth watching, since the effect on the viewer, or at least on this viewer, changes based on the angle, the lighting, and the closeness of the camera lens.

Now the Kennedy Library in Massachusetts has announced that more of those very condolence messages which Mrs. Kennedy received will be made available to scholars and researchers.  Some items in the collection are quite remarkable indeed. For example, there is a letter from the mother of one of the four little girls killed in the bombing of the 16th Street Baptist Church in Birmingham, Alabama only a few months before.

Whatever one thinks of the Kennedys, politically or otherwise, anyone who has experienced a great loss in their life can appreciate how these pieces of paper – cards, notes, letters, photographs – are simultaneously both hurtful and helpful.  They hurt, obviously, because the reader is reminded of their loss, and can be reminded of it again and again, should they choose to hold on to the documents.  Yet at the same time they can help, because they also remind the sufferer that they are not alone, whatever it is they may be going through.  It is then when humanity and decency are so important, in those moments when the widow or orphan is feeling they have nothing to hold on to as they attempt to go on with their lives.

Although JFK’s assassination was over 50 years ago, the images and words which Americans associate with that event continue to have an impact on the national consciousness. This message by Mrs. Kennedy was only about a minute long, and yet when one considers what had happened less than two months earlier – and the fact that she was only 34 years old at the time – her grace was truly remarkable.  It reinforced the public’s perception of her bravery as a young widow in overwhelming circumstances.  Yet it also showed that she really did appreciate the prayers and encouragement she received, and that she felt a duty to acknowledge that kindness publicly. It is quite a piece of history.

Mrs. Kennedy thanks the American people for their condolences

Mrs. Kennedy thanks the American people for their condolences