He was oppressed, and he was afflicted, yet he did not open his mouth; like a lamb that is led to the slaughter, and like a sheep that before its shearers is silent, so he did not open his mouth. By a perversion of justice he was taken away. – Isaiah 53:7-8a
Then Jesus said, “Father, forgive them; for they do not know what they are doing.” – Luke 23:34
Silence, Jesus? Excuses, Jesus? In truth, I want a louder Savior. I want a firebrand, I want a chief. I want a voice that echoes from the hills.
I do not want excuses. I do not want a suffering servant satisfied with our perverted justice, consenting with your silence.
For heaven’s sake, shake the heavens! For earth’s sake, rattle the earth! For the oppressed’s sake, break the bonds! For humanity’s sake, do something!
Don’t – don’t – make excuses. Not for them. Not for us. Not even – dare I say it? Don’t make excuses for me.
I do not need excusing, Jesus. No, I need forgiving. Excuses will not change the world: Repentance and forgiveness might.
Suffering Savior, keep your silence: but do not keep your peace. We who witness your great love weep for your peace.
“He made my mouth like a sharp sword, in the shadow of his hand he hid me; he made me a polished arrow, in his quiver he hid me away.” – Isaiah 49:2
Ah, Jerusalem, feel my cutting words! Ah, priests and scribes, feel my penetrating points! Ah, you who stand for God: I wait no longer in the shadow. I speak. I fly.
I wrote this song in the fall of 2018, when a number of conversations turned to a wish for Jesus to come along and start to flip some tables. I expected it to be a rousing, even raucous anthem: but it turned to lament.
They’re changing money in the temple, Jesus. They’re not giving full value for each coin. They’re changing money in the temple, Jesus. They’ve turned a house of prayer… Into a house of thieves…
[Chorus]
What are you going to do about it, Jesus? The gold is piled high… What are you going to do about it, Jesus? Do you see where the gold… lies?
They’re piling money in the towers, Jesus. They won’t even pay the builders their full coin. They’re piling money in the towers, Jesus. They’ve given all that power… Into the hands of thieves…
[Chorus] Listen… to the gold lies. Listen… to the golden lies.
We’ve exchanged our priests for tycoons, Jesus. We’ve given our worship to the coin. We’ve traded priests for tycoons, Jesus. We’ve given our allegiance… To generations of thieves…
[Final Chorus]
What are you going to do about it, Jesus? The gold is piled high… What are you going to do about it, Jesus? Or the tables, where the gold… lies?
Flip the tables: the gold… flies! Toss the tables, Jesus. Make the gold… fly!
Step. Step. Step. Step. Along the road. Down the hill. Across the valley. Up the hill. Rest. Repeat.
I never wished for an interesting life.
Led away today, carrying a man.
Step. Step. Step. Step. Along the road.
What’s all the noise? The cloth is nice beneath my hooves, though frankly I don’t care.
Step. Step. Step. Step. Down the hill.
I could walk this route with my eyes shut. I nearly am today. Who wants a palm leaf in the eye?
Step. Step. Step. Step. Across the valley.
I can’t help notice that among the cheering crowd are sour faces, but I frankly don’t much care.
Step. Step. Step. Step. Up the hill.
It’s funny, though. This man does not weigh much, in truth and yet it seems he bears the world upon his shoulders.
Better his than mine, of course.
Step. Step. Step. Step. Rest.
I wonder – who will lead me home again?
The image is Einzug Christi in Jerusalem (1912), by Wilhelm Morgner – The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202., Public Domain, https://commons.wikimedia.org/w/index.php?curid=155912.
That’s not the shout of “preacher in a panic,” that. Nor is it Jesus’ commentary on a new disciple who, all eager, failed to strip the palm tree of its fronds to deck the road for his approach.
I might imagine, though, the sad and smiling faces of the other gospel writers who, whatever else they may have written right or wrong, included palms upon the road up to the city’s gate.
At least there’s clothes and cloaks to lay beneath the feet of this strange-sought, strange-borrowed colt, who probably could do without the noise and would prefer the eat the absent fronds.
No, Luke, the colt does not awaken my concern, nor do I worry that its burden misses leaf and branch. Instead, imagination balks to think of waving clothes, not palms, upon this Sunday morn.
Oh, yes. Imagination balks.
We’ll wave our palms, dear Luke, not clothes. But really: how could you forget the palms?
A poem/prayer based on Luke 19:28-40 the Revised Common Lectionary Gospel reading for Year C, Sixth Sunday in Lent. In Luke’s account of Palm Sunday, he does not mention any palms.
We gaze into the night and see the stars a-whirl upon the canvas of infinity.
About the stars the planets dance, making their rounds, spinning, gathering heat, reflecting light.
We gaze into the night with our feet firmly planted on sacred stone.
On mountain’s peak we stand on sacred stone. At ocean’s edge we stand on sacred stone.
When rock runs liquid down the slopes and steams into the sea, it is sacred stone.
When weather wears the rock to soil in layers of richness, it is sacred stone.
When loosened by ohi’a’s root, mixed up with life’s decay, it is sacred stone.
A stately galaxy. A star’s vast heat. A planet’s core. Sacred stone.
A bed for flowers. A soaring pali. A mountain sighing. Sacred stone.
We live on sacred stone.
Sacred stone.
I was asked to provide a closing for a meeting of interfaith leaders last night. I said something like this, which I can’t precisely remember, and has become the seed for this poem.
Mary Anoints Jesus by Ilyas Basim Khuri Bazzi Rahib
Jar a-tilting, oil spilling, aroma filling, nostrils widen.
Hair uncovered, tresses flowing, oil clutching to her locks.
Soft voice speaking to her weeping: “Thank you, Mary, for your gift.”
A poem/prayer based on John 12:1-8, the Revised Common Lectionary Gospel reading for Year C, Fifth Sunday in Lent.
Illustration from a 1684 Arabic manuscript of the Gospels, copied in Egypt by Ilyas Basim Khuri Bazzi Rahib (likely a Coptic monk). In the collection of The Walters Art Museum, Baltimore, Md. (on page 51 of the .pdf copy of the document released by the museum under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license).