Imagining a poetry of Christian spirituality…

broken statue

I am still gathering poetry submissions for inclusion in an up and coming poetry collection to be published by Proost– please keep them coming in!

Proost is a company set up by Christians to gather together lots of the creativity coming out of the left field ragged edge of the church here in the UK. In doing this they have been incredibly encouraging to people (like me) whose output is unlikely to find other commercial outlets. The poetry collection was an attempt to broaden out this ethos still further.

In the process of looking at this, I have been forced once again to consider what I might understand as ‘Christian’ poetry, or even ‘spiritual’ poetry.

The tradition of church that I grew up has little time for poetry. The nearest we got to it were the lyrics of songs and hymns- with people like Matt Redman or Graham Kendrick as the most widely known contributors. The subject matter and style chosen for these songs is very limited, and goes something like this;

  • Substitutionary atonement
  • Over use of obvious rhyme structures- face/grace love/above died/justified
  • Over identification with love songs- ‘Jesus is my boyfriend’ kind of stuff
  • Substitutionary atonement
  • Lack of room for questions, for uncertainty, for doubt
  • Lack of room for lament
  • Often driven by commercialism- what sells in the American mid west.
  • Substitutionary atonement

These songs became the cultural carriers of our faith- they gave us a proscribed language to describe our understanding of God but this left us only with a set of rather clichéd phrases that we rehashed over and over again- usually strapped to a good tune to make them more palatable.

Hardly surprisingly, those people that wrote poems at all in the churches I went to tended to write poems along these lines too, although this was a marginal practice, as the feeling was that the main forms of expression of faith were preaching the word, evangelising the lost and worshipping through singing.

There is of course a rich tradition of writing poetry in other Christian traditions- Hildegard of Bingen, Francis of Asisi, Teresa of Avila, John Donne, Christina Rossetti, Gerard Manley Hopkins, R.S. Thomas, Thomas Merton to name but a few. However, most of us do not know the work of these wonderful poets well, if at all. Some of them we know as people of faith, but the relationship that poetry has to the development of their spiritual understanding is far less clear. It is not something that we are schooled to even ask.

Eastern traditions are much clearer about this relationship. The Sufi tradition of poets like Rumi, Sanai and Attar are all famous because they were poets. The words they made arose from their spiritual journey- they were the very process of engagement with the divine, not an accidental by product. Here is a bit of Rumi to make the point, written around 800 years ago;

Say who I am

I am dust particles in sunlight
I am the round sun.

To the bits of dust I say, stay.
To the sun, keep moving.

I am morning mist,
And the breathing of evening.

I amwind in the top of a grove
and surf on the cliff.

Mast, rudder, helmsman and keel.
I am also the coral reef they founder on.

I am a tree with a trained parot in its branches.
Silence, thought and voice.

The musical air coming through a flute
A spark off a stone, a flickering
in metal. Both candle
and the moth crazy around it.

Rose and the nightingale
lost in the fragrance.

I am all orders of being, the circling galaxy,
the evolutionary intelligence, the lift
and the falling away. What is
and what isn’t.

What makes this poetry so wonderful to us is the freedom that exists in the middle of it- the sense of generosity, wonder and beauty. It opens something up- a window into something deeper. It seems to arise as much from personal experience- revelation even- as from a desire to proselytise or sell a particular idea to us. This is not Christian poetry- but then again, perhaps it is the poetry that we Christians need to be reading.

We often forget that the Bible is a product too of middle eastern mystics, prophets and nomads in their search for God. We forget that around a third of the Bible is written as poetry- not just the obvious bits (Psalms) but we also have searing prophetic rants, apocalyptic weirdness  raunchy love poems, even St Paul seemed to be sneaking lyrics from hymns into his letters.

We needed the Bible to be a legal document, a constitional, foundational tool for life that we could mine for concrete instructional truth- what we got was lots of poetry- although we rarely see it as such. It is an interesting question as to whether reading the Bible as poetry changes how we engage with it.

But back to the point of this piece- which is a search for a new kind of Christian poetry- using language set free from the narrow cliches. An honest kind of poetry- that arises from a deep well of the Spirit within us. Poetry that does not shrink from pain, form ugliness, from doubt, from anger at God even. Poetry that asks questions as much as it answers them. Poetry that holds us to account for our actions- particularly those of us in power. Poetry that is skewed towards the weak, the broken, the poor (as these are the last made first.)

Poetry that can become the songs of the Kingdom of God that is woven into the fabric of our world- in each leaf, each ripple, each stratum, each child, each crack addict.

If you should come across poetry like this, you will recognise it for what it is, even if it disturbs you, discomforts you.

And if you do- send it my way!

That old trickery called theology…

Regular readers of this blog will know my interest in reading some of the ancient poets of the middle east. One name often stands above all the rest- Jelluladin Rumi. Rumi reminds me that we Christians would do well to be a lot more careful about our instant rejection and condemnation of anything that comes from a different faith perspective.

(Incidentally, lest we stay all highbrow about Rumi- some of the subjects he wrote poems about were, shall we say, rather fruity!)

An old friend sent me this quote today- which was so good I will repost it here… He had seen it on Maggi Dawns blog.

Those who don’t feel this love pulling them like a river
Those who don’t drink dawn like a cup of spring water
or take sunset like supper
Those who don’t want to change
let them sleep…
This Love is beyond the study of theology that old trickery and hypocrisy
If you want to improve your mind that way sleep on.
I’ve given up on my brain I’ve torn the cloth to shreds and thrown it away.
If you’re not completely naked wrap your beautiful robe of words
around you and sleep.

Persian poetry 3- Rumi…

rumi-meditating

So, we come to Rumi.

He was the only poet I had sort of heard of when I began reading this wonderful old poetry. I knew of him as an almost alien mystic, but once again, the beauty of his words seem to reach over the centuries, and become a bridge over the religious/cultural divides that we still build up high. There is such depth of humanity in this poetry that it deserves to be so much better known in the West.

So who was this man Rumi?

His full name was Jalāl ad-Dīn Muḥammad Balkhi and it seems we know a lot about his life, despite the 800 year odd years that have passed since he was born. Many of his letters have survived (as many as 147 personal letters) and he was revered in his own lifetime, and so people recorded his words and wisdom.

We know that he had a famous father, who was a poet and learned man in his own right. We also know he was born around 1207 during turbulent times, as the Mongol hordes where slashing and burning their way across the known world, and pushing back the edges of what had been the great Seljuq empire which split into small Emerates.

Rumi was thought to have been born in Balkh, an ancient city in what is now Afghanistan- previously a melting pot of religious ideas- first a centre for Zoroastrian thought, later Buddhism but by the time of Rumi, Islam was in the ascendant.

Rumi’s family fled the advancing Mongols in the nick of time, traveling west, first performing the Hajj and eventually settling in the Anatolian city Konya (capital of the Seljuk Sultanate of Rum, now located in Turkey.

The story of his life goes something like this-

Rumi follows in his fathers footsteps- becoming a scholar at the University in Konya, and eventually his fame as a poet and learned man spread.

At the height of his success, he encountered a Sufi called Shams-e-Tabrīzī. This meeting changed his life. Everything that he counted as worthwhile- success, wealth, position- all this was suddenly called into question by what he saw in the poverty and simplicity of the life of the wandering Sufi.

He started neglecting his public duties and following after his new friend. The association brought him ridicule and so he was forced to resign his job, and then began a 4 year friendship with Shams.

Then one day, as suddenly as he came into Rumi’s life, his friend disappeared. Some say he was murdered by one of Rumi’s sons, perhaps embarrassed and resentful of the hold this raggedy man had over his father. Others said that he traveled East for new adventures. Rumi spent years looking for him.

Rumi’s life from this time was dedicated to a deep spirituality. For him, the human condition was empty, like a reed plucked from the bank of a river, and cut to form a flute. Life might make holes in the flute through to its hollow centre, but unless the reed was filled with the breath of the Beloved, then it would be for ever empty. So the purpose of life was to journey back to union with Beloved, from whom we have been cut off.

A craftsman pulled a reed from the reedbed
cut holes in it, and called it a human being.

Since then it has been wailing a tender agony
of parting, never mentioning the skill
that gave it life as a flute.

Although a devout Muslim, the journey of the Sufi according to Rumi, was to be encountered in personal experience- not in abstract doctrine and creed. Some of his ideas would seem to sit well within universalist ideas of faith. For example-

I searched for God among the Christians and on the Cross and therein I found Him not.
I went into the ancient temples of idolatry; no trace of Him was there.
I entered the mountain cave of Hira and then went as far as Qandhar but God I found not.
With set purpose I fared to the summit of Mount Caucasus and found there only ‘anqa’s habitation.
Then I directed my search to the Kaaba, the resort of old and young; God was not there even.
Turning to philosophy I inquired about him from ibn Sina but found Him not within his range.
I fared then to the scene of the Prophet’s experience of a great divine manifestation only a “two bow-lengths’ distance from him” but God was not there even in that exalted court.
Finally, I looked into my own heart and there I saw Him; He was nowhere else.

Rumi believed that we could encounter the Beloved through dance, music, art and of course- poetry. After his death others formed an order of Sufi’s that came to be known as the Whirling Dervishes, because of their wild ecstatic dancing, and regarded him as their spiritual father.

He died in 1273 and a shrine still stands over his grave in Konya-

Rumi's tomb, Konya

Time for some more poetry-

The first one is thought to relate to friendship. It makes me think of campfire on dark nights on island trips with friends-

We point to the new moon

This time when you and I sit here, two figures
with one soul. we’re a garden,
with plants and birdsong moving through us
Like rain

The stars come out. We’re out
of ourselves, but collected. We point
to the new moon, its discipline and slender joy.

We don’t listen to stories
full of frustrated anger. We feed
On laughter and tenderness
we hear around us
when we are together.

And even more incredible, sitting here in Konya
we’re this moment in Khorasan and Iraq.

We have these forms in time
and another in the elsewhere
that’s made of this closeness

Say who I am

I am dust particles in sunlight
I am the round sun.

To the bits of dust I say, stay.
To the sun, keep moving.

I am morning mist,
And the breathing of evening.

I amwind in the top of a grove
and surf on the cliff.

Mast, rudder, helmsman and keel.
I am also the coral reef they founder on.

I am a tree with a trained parot in its branches.
Silence, thought and voice.

The musical air coming through a flute
A spark off a stone, a flickering
in metal. Both candle
and the moth crazy around it.

Rose and the nightingale
lost in the fragrance.

I am all orders of being, the circling galaxy,
the evolutionary intelligence, the lift
and the falling away. What is
and what isn’t.

My Uncle Napoleon, and Iranian culture…

I recently confessed to an attempt to find a deeper understanding of Islamic cultures through reading literature.

The books I read were wonderful, but very much from a western perspective. I needed to adventure a bit further- and given that this was around the edges of bits of leisure time, I needed it to be reasonably digestible.

This evening, I watched two programmes on BBC 4 about Iran. One of them was about this book

my uncle napoleon

This book (and this programme) deals with a different part of Iranian history- that we British people are very ignorant about- that is the occupation and manipulation of Iran as part of the power struggles first with Imperial Russia, and later as a way of ensuring the continued flow of oil to fuel our battleships. 4 separate invasions, and 100 years of political manipulation.

And we wonder why Iran today has no trust of western powers whatsoever?!

The second programme (also available on the i-player, here) follows a BBC foreign correspondent on a journey through his homeland- again Iran. It shows the beauty of the countryside, then richness of the culture, and the vibrant life of the people. It paints a picture of a country a million miles from the dark satanic oppressed place that we may have been led to understand. The film was almost certainly made under reporting restrictions, and does seem just a little too air brushed- almost like a tourist board film- but it is well worth watching.

And it reminded me that it was time I read some more Persian poetry- Rumi, Hafez and Saadi for example. 600 years of distilled beauty, spirituality and culture both alien, and yet so very familiar. The turning of seasons, and the preoccupations of love and and the approach of death…