El Salvador II: A Post-Travel Reflection

I am unable to articulate my experiences in El Salvador. In the same way that my photos do not fully portray the scenery which they attempt to display, so also are my words inadequate to express the feelings rooted in the lived experiences during our visit to this incredible country. But the inadequacy of words and photos is a perfect preface to the following reflection. Through my experiences in El Salvador I have begun to grasp the importance of human connection and solidarity in the Kingdom of God. Like photos that cannot replace actually "being there," so too are our words of hope unable to replace our physical presence. And so too are our greatest theologies and prayers unable to take the place of actually living alongside those who suffer. This concept became a theme for me during our week in El Salvador.

Before our trip I wrote a brief reflection in which I hoped that, once in El Salvador, I would be able to affirm the people and listen to their stories. I believe that this approach provided a good way to be open and vulnerable to the ways that God moved and revealed God's Self to us through the people we encountered. The way the schedule was set up was actually very nice. I enjoyed meeting with such a vast group of people who are doing all sorts of work. And although the schedule just came about in the order it did, I think that everything happened in a very timely manner.

The shock of poverty definitely hit me hard. It is one thing to see it in photos or TV, but to be there in person is quite different. This, once again, emphasizes the importance of lived experience. To stand in the dirt where others live, to breathe the air that the Salvadorans breathe, and to walk the roads that many walk - is to live, albeit momentarily, alongside those who are often overlooked. I cannot articulate the feelings I felt in Santa Rosa and standing in the shade of the tree where that community meets for Bible study. And this certainly birthed many frustrations; and so I became very angry.

My frustrations were fueled even further by stories about the war from Lito; and by stories about gangs demanding money from Serena; and by injustices committed by corporations; and by all sorts of stories from every direction. This was all by about Tuesday night that I wanted to scream and start a revolution. I was tired of hearing about the "small" work that the churches are doing and I wanted to actually "do" something about the injustices. This frustration was good because without experiencing it I would not have been prepared for the wisdom that was to come from the latter days of our visit.

When we visited San Martin and Jaime's church I felt as though I had reached low point. I remember after our discussion I just went to the window and stood there looking out, feeling very numb. "Why can't something be done?" I thought. "Why can't people with the power to help do something about this?" That evening I really just wanted to go into a place of hiding; I wanted to go somewhere alone and sulk. (If it had not been for the stop at the mission and the opportunity to play with the children, I probably would have been a depressed young man. But God is good and provided us that beautiful reminder of God's love through the children at the mission)

At the low point of my frustration we were given the opportunity to dialogue with Ramon, a former Baptist pastor who holds some fairly radical views. But it was then that I began to start actually comprehending all that I had been seeing that week. Ramon reminded us of the parables of the mustard seed and the yeast (Matt. 13:31-33) and this brought to life a newfound hope for me. I began to realize that the work of the Kingdom is very small and slow. I began to see that the work that these ministries were doing in El Salvador were exactly what the Reign of God is supposed to be doing: building communities of justice, love, peace, and hope through solidarity.

What is ironic is that, despite my intent to listen to the people and affirm them (as I had expressed in my pre-travel reflection), I held to my North American ideals that I should then go and fix the problem! I became so frustrated and angry during the first few days because I thought, "Why waste time with the church, let's march on Capitol Hill!" But this fruitless passion was born out of my North American pragmatism, not the Gospel. I had forgotten that the Kingdom of God is like a tiny mustard seed. It was only then that I began to make sense out of so much that I had experienced that week.

As I reflected on this I began to see why the work of these church's is so important. And I also began to see why solidarity is at the heart of their work. Yes of course we want to fix the problems, but the Good News isn't about just fixing a problem, it's about building a community. This is what struck me about all of the places that we visited: they were all building communities grounded in real relationships. Yes they all want to conquer injustices, but they're not trying to do it alone. This is something that I have never really experienced until our trip to El Salvador. What I have begun to learn is that the Kingdom of God transforms from the inside out, from the bottom up.

This helped me to understand how Latin Americans are doing their theology as well. It is so refreshing because they are doing their theology in their context. One of the emphases of SEBLA is to train leaders according to their context. This is truly revolutionary because this approach allows for God to continue to move and speak! And it helps us to follow the leading of the Holy Spirit. This was a great theological learning for me. To witness the way that Salvadorans are discovering their theology and sharing it is quite amazing. But what is more amazing is their faithfulness to construct theology that is relevant and contextualized. This is why solidarity must play such a role in the theology of the Salvadoran people.

All in all this was one of the most incredible weeks of my life. The more I reflect upon the trip the more I see God at work and God speaking. The format and methodology was very good in my opinion. I enjoyed hearing from and sharing with so many people. I also enjoyed traveling and seeing a variety of places and peoples. The food was amazing - no complaints there! But ultimately this was a life-transforming experience. To have our last day be spent reflecting on the life of Monsenor Romero was an appropriate end to our trip. It gave me hope. Also very hopeful were the many words of wisdom from Jaime, the dean of the seminary.

In my pre-travel reflection I made a goal to stay connected to El Salvador. I currently have at least three and I'm looking for more! So I hope and pray that God will allow me to keep a connection with my family in El Salvador and partner with them in revealing the Kingdom of God.

Peacemaking & El Salvador

I will be traveling to El Salvador in one week for a class on the Church from a Latin American perspective. I am really excited and I decided to write this pre-travel reflection.

I would never attempt to write a book about Russia. This is because I know virtually nothing about the country save for the fact that it is supposedly cold. Similarly, it strikes me as somewhat fraudulent for someone of my background to spout off about peacemaking and justice. Because I grew up in a small town of WASPs and middle-class comfort, I often feel like a phony when I attempt to preach about peace and justice. What do I know? I have never once encountered a violent situation let alone anything life-threatening. Nor have I ever asked the question, "I wonder if I'll eat today?" The reality is that I have been blessed with a fairly charmed life thus far. And so I find myself often frustrated by the fact that I have read a lot about peacemaking, and yet haven't truly experienced exactly how the Gospel of Peace is lived out in a world of conflict.

But perhaps the first step to peacemaking for someone like me is self-awareness. That is, the ability to recognize my life experience in contrast to others. And, perhaps to realize the great responsibility that comes with the blessings of particular life experiences (e.g. education, economic opportunity, etc.). In this sense, it proves beneficial to consider one's background more closely.

My family has always lived the middle-class, white American life (though my father was fairly poor growing up). Both of my parents, however, come from generations of typical Christian thinking and lifestyle: my mother from a Bible-belt culture in Kentucky, and my father from a Pentecostal culture in Southern Arizona. Thus, it is no big surprise that I too grew up in a small, predominately Christian town, attended the local Wesleyan church and received a Christian-based education. Throughout my upbringing I never had to consider (let alone encounter) the horrors of violence or injustice. Those tragic realities were more like concepts that we would toss around in Sunday school or Bible study; similar to school subjects that were interesting to learn about but not exactly "real."

The sad truth is that I was living amongst social injustice but never knew it. The county where I grew up, for example, is the poorest county in NY State. I now realize that so many of the people who lived around me as a kid suffered from our country's own social injustices (health care or education, for examples). Though I never realized this as a kid, I have begun to learn the ability to see injustice. The ability to recognize injustices, I believe, requires both education and maturity.

Perhaps in addition to education and maturity, realizing the presence of injustice involves interpersonal relationships. My father, who grew up in Tucson, AZ, became acutely aware of the disparity between Northern and Latin Americas as a kid. He witnessed his father adopt a young Mexican man - an illegal migrant - sometime during the 70's (and he is now currently a member of our family, along with is two brothers!). From this my father gained awareness of disparate life experiences and passed on that awareness to me so that I too might be aware of the realities of the social stratification in our world. But as I mentioned above, knowledge about injustice and peacemaking is one thing; true experience of it is a wholly other.

I believe that peacemaking has to combine these two elements: knowledge about and experience of. This is why I am so eager to visit El Salvador. I don't believe for one minute that I can authentically experience what the Salvadoran people experience. But from relating with them and learning from them I will gain perspective that is nearly impossible for me to gain sitting at a desk in Philadelphia. I am hopeful that through this experience I might better understand the injustices that are caused by my own society and that I might learn of the ways that I can become involved in resolving them here in the U.S.

The relational aspect to a trip such as this is, in my opinion, the crux of the Gospel. I dare not presume that I have the capability to change the lives of any Salvadoran person or provide the help that is needed in their situation. But I do, however, have the capability to be a brother to everyone I meet and affirm their value as a child of God. This, I believe, is a critical element to the Gospel of Peace: to hear the stories of other people, to listen to their plight, and offer my "yes" to their existence.

I also believe that peace is not simply the absence of conflict but the presence of justice. Peace is often watered down into some idealistic, metaphysical fluff. It cannot be! Like most theological doctrines (in my opinion), it must be grounded in human experience. Justice, for me, means that human beings are offered the opportunity for well-being, to thrive instead of merely survive. And thus this idea of peacemaking must be holistic and cooperative. It must include elements of economics, education, local government policies, federal government policies, and more. The fact is that these elements from various disciplines or departments are all run by and for people. Thus, it is grounded in human experience.

As a result of this approach to peacemaking dialogue is very necessary. In the past three years I have begun to involve myself in various inter-denominational and inter-religious dialogue. It is there that I see the most hope for our hurting world. In no other setting do I see more potential for peacemaking and justice. I think this is because it involves increased perspectives and is therefore able to reach increased demographics. The other benefit to this approach is that it is founded upon common reaction to the unjust human experiences that it aims to relieve. Once again peacemaking is rooted in human experience (it has little to do with metaphysical religious jargon and everything to do with starving, oppressed peoples).

Though I have been to the Dominican Republic and have seen the experience of some of Latin America, I believe the I am in for further revelation by visiting El Salvador. That is, I am at least preparing myself to be utterly humbled and most likely shaken by what I will see, hear, taste, touch, and smell. Living in West Philadelphia I often feel like I am "rich" when I consider my surroundings. However, I have the feeling that visiting El Salvador is going to have a heavy impact on me. This, I believe, will be the hardest aspect to our trip.

In addition, I think that the language barrier will be both a curse and a blessing. My inability to speak Spanish will no doubt inhibit me from connecting with people, but perhaps it will allow me to engage my other senses in fresh ways. I hope that it will enable me to take in my experience from a unique perspective and notice things that may otherwise be overlooked.

Because a 1-week trip is so brief, I don't want to have unrealistic expectations. Therefore, my hope is to simply make one tangible connection between what is happening in El Salvador and what I am doing here in Philadelphia so that when I return home I will be able to be a part of what God is doing with my sisters and brothers in El Salvador. This could be a personal relationship with someone (or a community); or it could be the involvement with an organization that fights agricultural injustice, etc. I don't know what it will be. But this is my goal. I want to maintain a personal connection with people in El Salvador that will enable the process of peace work. May God show me what that connection may be.

The Worst Ideas of the Decade

Cathleen Falsani wrote a great essay in the Washington Post about the prosperity gospel: Click here.

TOP TEN ALBUMS OF THE 00'S

CAVEAT: This is not an indie-hip-Pitchfork review that tries to exhibit superiority by dropping ridiculously obscure artists. I am an unashamed product of the 90's. If Bush's "Sixteen Stone" came out in 2K7 it would be on this list. Straight up. This is also MY list. These are albums I listened to religiously over the past decade and will continue to adore the rest of my life.

Preface: Albums that came close but did not make the cut shall be noted here.

Wilco - Yankee Hotel Foxtrot
Beck - Sea Change
Matthew Dear - Asa Breed
Bright Eyes - I'm Wide Awake It's Morning
Nada Surf - The Weight is a Gift
Ryan Adams - Heartbreaker
Bruce Sprignsteen - The Rising
Johnny Cash - America V: A Hundred Highways
Kings of Convenience - Riot on an Empty Street
Radiohead - In Rainbows
NIN - And All That Could Have Been (best live album of the decade for sure)
Black Eyed Peas (PSYCH!)
Super Furry Animals - Phantom Power


Ok, now... my list:

10) Ryan Adams - Jacksonville City Nights
Released: September 26, 2005

You knew Ryan Adams had to make my Top Ten. Why? Because he's the best songwriter since Neil Young, that's why. And this is Ryan Adams at his best. Not trying to be a punk rocker or a loverboy, just a folk song-writer. Many would argue that Heartbreaker is his best and they're completely justified - not only was that his solo debut but it is an amazing album. But alas, I must disagree. Heartbreaker does not have the scope of song writing that JCN does; nor does it have the backing of the Cardinals which makes JCN stand out. I think Ryan Adams is best when he's with a band and the Cardinals have proved to be a good influence. Furthermore, this is such a beautiful blue-collar album as it covers all of life's great experiences: your first job, returning to the town where you grew up, first love, broken hearts and love affairs, utility bills, losing a loved one, drinking your problems away, learning your family's history, and having breakfast at the diner. I love this album to death and I will listen to it the rest of my life as I continue to reflect upon those precious life experiences as well as encounter new ones that Adams captures in the short stories of JCN.

9) Jay Z - The Black Album
Released: November 14, 2003

If you haven't seen the documentary "Fade to Black," then you need to go watch it right now. Once you see that film you will understand why the Black Album is one of the top ten albums of the decade. This is probably one of the best rap albums ever made. I am not the biggest fan of hip/hop, but this album is incredible. The samples are so diverse that the songs are in no way repetitive, and yet the album flows from one song to the next in a mysteriously comfortable fashion. Musically it is ridiculously catchy and each tune is very listenable. As soon as the strings rise and climb into that catchy sample at the beginning of December 4th you're hooked. Lyrically it is genius. Jay tells stories that draw the listener in. I mean, everyone knows the lines about being pulled over and telling the cop the that he can't "legally search my shit." It's genius. If listening to this gem doesn't do it for you, watch the doc.

8) Phoenix - It's Never Been Like That
Released: May 15, 2006

Ok, now that Phoenix is huge we can all agree that they're nice. But what most people don't know is that "Wolfgang Amadeus" is like a sequel to "It's Never Been Like That." In fact, it's kind of like Jurassic Park 2 (IMHO). INBLT is they're best album by leaps and bounds. It is poppy. It is catchy. The band is so tight. The sounds are overly perfect. This over-produced (in a good way) album is one of the best albums of the decade for sure. Not unlike Sigur Ros (#4 below), the lyricist offers fun-sounding words to accommodate the music. It's as if the phonetics matter more than the content of the lyrics. That, in my opinion, is notable because most lyricists are overly focused content. Moreover, the MUSIC itself is possibly the most intelligent pop music I've heard in years. If Weezer and the Strokes had a baby that grew up to out-shine its parents, THAT would be Phoenix. INBLT flows from start to finish with a non-stop fun ride that leaves little to be desired. I return to this record often and I'm never disappointed.

7) Interpol - Turn on the Bright Lights
Released: November, 2001

There is not a band like Interpol out there. And this record is their best work. Not only is this one of the tightest bands around but this album is sharp as hell. Every instrument on this record sounds so crystal clear that I can practically envision what each cymbal or guitar looks like. It paints a picture. The guitars on this album are an example of what can be done with the advancements in guitar technologies and effects. They're simply astounding. And nothing about the guitar work is overly complex, but it is exactly what each song needs. And the unique sound of this record is also a standout. The reverbs are huge and give the album a dark, gloomy feel. You know you're listening to something that was written from the dark, serious side of life. The vox effects also give it this feel. And lastly, the drums: perhaps some of the best drumming I've heard in the entire decade. It is straight rock drumming but is done with such intelligence, patience, and intentionality that each tiny slap of the stick cuts through the melodies and tones of the rest of the band. Simply brilliant. Listen to this album.

6) Outkast - Speakerboxxx/Love Below
Released: September 23, 2003

Outkast has always done things their way. Somewhat different but still comfortable enough for mainstream hip hop. This album is their magnum opus (IMHO). It's their "Kid A." The amount of diversity on this DOUBLE disc is unreal. I could end up writing forever about this one so I'll just say a few things. Beats: enough to keep any listener happy as well as guessing. They're all over the place and yet always pleasing. Lyrics: no one does it like Outkast (esp. Andre). Lyrics are clever, catchy, funny, and also often profound. Instrumentation: Implementing jazz drums, pianos, horns, vocals, Prince-like squeals, gospel choirs, hand claps, synths, drum machines, et. al., this album is enough to make your synapses fire like crazy. Oh yeah, and don't forget the hilarious shorts in between tracks - a classic Outkast feature. Whether you want the obscure or the popular, this album has it all and everything in between.

5) Sigur Ros - ( )
Released: 2002

I purchased this album at a time of great dissatisfaction with music in general. I was discontent with my own library as well as just about everything being played around me. It all sounded the same. Thankfully I found what is arguably this Icelandic wonder group's best album. Not only is this a ridiculously beautiful album, but it is (IMHO) the most conceptual of Sigur Ros' stuff. One cannot help but listen to this album beginning to end in one sitting (or walking through cold city streets as I prefer). Lyrically this record is, well, anything you want it to be! The beautiful gibberish lyrics are like the melodic equivalent of onomatopoeia; the sounds themselves fit the music perfectly. And the melodies are magnificently catchy. Ranging from gentle, trance-producing guitar swirls to intense, heavy drums and distortion, this album fluctuates between extremes in a way that offers listeners a portal of transcendence to discover themselves and the world around them.

4) M.I.A. - Arular
Released: 2005

Please don't even let the words "paper planes" enter your mind. To have that become her most popular song is what "Creep" is to Radiohead. And yet that popular hit is an example of what M.I.A. is capable of (taking a Clash sample and putting catchy melodies and ironic lyrics to work to construct one of the biggest hits of the last two years). However, it is the rest of her work that is of concern here. "Arular" came out three years before "Kala" (also an incredible album) as her debut. Upon first listen one doesn't even know what to make of it. How does a Sri Lanken girl creating music in Britain find such an original sound? This album puts Timbaland and Pharell to shame. The unique, tribal beats are a breath of fresh air in the monotony of Lil'-something hip hop. The mixed bag of beats and rhythms display the breadth of talent at work here. There are extreme differences between, say, tracks 2,3 and 11. And yet all of them are listenable and, more importantly, danceable. This is perhaps one of the finest dance records created in the "aughts." Speaking of tribal, the melodies also offer a unique non-Western feel that is both intriguing and loveable (listen to the last track). And lyrically it is absurd (and genius). Case in point: "What can I get for ten dollar? Anything you want" and "U.R.A.Q.T. is your daddy dealing 'cause you're dope to me" (among many other gems). As mentioned above, the samples are also noteable. Who samples the theme from The Jeffersons? If this album doesn't get your trunk moving then nothing will.


3) Sufjan Stevens - Illinois
Released: 2005

The word "grand" doesn't begin to describe this oeuvre. It is HUGE. Not only is it the sequel to Sufjan's facetious 50-state project rookie, Michigan, but it is in itself a gigantic work of music and storytelling. I must first make mention of Sufjan's ability to write a song about ANYTHING. Which is partly what makes him so fascinating. Lyrically he can write the most profound, tear-invoking lines, while also telling you about a bland fact of history. This is a talent in itself. But to put this talent to music is something completely other. It is often unavoidable to let the content about which a song is written to influence the music, but Sufjan purposefully puts music to match the content of his lyrics - which is both amazing and difficult as hell! And not only does he do this successfully, but he does so by employing a copious amount of instruments! Taking simple guitars and pianos and then arranging glorious strings and horns to accompany allows some of the grandest compositions I've ever heard. But soon after hearing a magnificent piece like "Come on! Feel the Illinoise," Sufjan follows up with a poignant solo performance about a serial killer. The diversity of the album is stunning (and once again shows his ability to let the content drive the music).

But I must make mention of perhaps the best song of the decade: Chicago. I don't care what anyone says, this is it. Call me an idealist but this song captures something (not unlike Springsteen's "The Rising"). Musically Chicago is catchy, listenable, and pretty, yet also surprisingly complicated. If you stop to listen to all of what's going on you'll be a bit shocked. And what always surprises me is the temp of the song: it always feels faster than it really is - which is an effect, I argue, of the emotion provoked by the exciting melody!

I could go on: Time signatures, lyrics, The Predatory Wasp of the Palisades is Out to Get Us! (possibly the best or 2nd best song of the album), etc. This is a great album of music and certainly deserves a #3 if not higher on our countdown.


2) Radiohead - Kid A
Released : October 2000

Reasoning: I don't even need to write about this one. Everybody knows. There is not room enough to discuss this album and its effects anyway, but I'll do so briefly. No one knew how Radiohead would follow up OK Computer, but, leaving few disappointed, they released an album that continued to push the boundaries and demonstrate their dominance in writing original music. There are few opening hooks that immediately draw a listener in like "Everything In Its Right Place." And I'm still mystified at how a soft, rhodes-esque keyboard progression can feel so dark and powerful. Nonetheless, the album progresses into one of the masterpieces of the decade. The entire record combines the avant-garde with the comfort of pop music. Awkward rhythms meet catchy guitars. Weird synths meet cozy melodies. It's like landing on Mars only to find your best friends waiting there to greet you. This album is #1 on many decade lists, and rightfully so as it is simply a masterpiece.

1) Elliot Smith - Figure 8
Released: 2000

Reasoning: Elliot Smith is most certainly an artist of the 90's. But this decisive album came in the year 2000 and it has been in religious rotation amongst my records ever since. As with other artists, I believe this is his best album. The quality of this record is unmatched by his previous ones as well as his post-humous releases. So, what can we say about Figure 8? Firstly, let's start with the song writing. Remember the Beatles? Lots of people liked them. And Smith is not unlike the Fab Four. His song ability to compose catchy pop melodies is matchless. Vocal melodies that rise and fall like scales (unable to be sung by many - this guy was a gooooood singer) make me wonder how in the hell he ever felt a melody line like that on "Everything Reminds Me of Her." But all of the vox are spot on. I dare you to find better pop melodies. But underneath melodies are chord progressions that parallel the Yorke's and Sufjans and Bazan's (and McCartney's et. al.). Nothing ever sounds forced; it's as if Smith let's the song grow up into whatever it was meant to be. He just seems to tease out the melodies or instrumentation that the song itself deserves (see Can't Make a Sound for example).

Secondly, the instrumentation: you need to listen to this album 6 times before you can then go back and appreciate it. Listen through (on a good stereo/headphones) and focus on the following: vocals, guitars, bass lines, drums, piano, strings and other aux instruments. Then you can start to put it all together. But the brilliance is the fact that you'd NEVER notice these details because it all comes together in such a beautiful, cohesive manner. The songs are like a good meatloaf: you don't have a clue what all is in it, but it tastes amazing. These songs have such great instrumentation that I cannot help but find every piece interesting and enjoyable.

Which brings me to the next point: guitar work. Elliot Smith is perhaps the most underrated guitarist I can think of. He was an incredible guitar players! Granted he's now Kirk Hammet or Dime-Bag, but he knew his instrument and played it phenomenally. He's not flashy, but he makes the guitar sing. He strings together (pun intended?) notes on the guitar that are simply beautiful (and are also impossibly difficult to play!). Not only does Smith exhibit skill, however, but also a wonderful combination of acoustic and electric sounds. If you like the guitar as an instrument, you need to give this record a careful listen to hear how versatile and complex this instrument truly is.

Lyrically this record is fantastic. "The question is: Wouldn't mama be proud?" Gotta love a 90's existentialist. I guess that's why I resonate with it so much. Many accuse Smith of being depressing, but I DO NOT. I don't understand why this is! (yes, I know how he died, that is a non-issue here) Seriously. No one accused Sgt. Pepper's of being depressing! This is much in the same. Smith has done a similarly brilliant thing here (as well as on other records): he combines existential lyrics with unbelievably poppy, fun melodies. It's brilliant and another reason why he belongs at the #1 of my albums of the decade.

The album as a whole is intelligently laid out. Beginning with Son of Sam and ending with Can't Make a Sound & Bye provides one hell of a soundtrack to anybody's story. I mean, Can't Make a Sound is like the last scene of ANY movie - plane crashing or romantic kissing. I think Smith has the uncanny ability to capture emotions in the progressions and melodies of his songs.

I cannot say "If it weren't for Elliot Smith we wouldn't have...." (blah blah blah, arctic monkeys or peter.bjorn.&john, et. al.). Although I would be shocked to learn that many artists haven't been heavily influenced by him. But, nevertheless, this is precisely why he is at my #1. There's no one like him. He deserves a special place in music history in the last two decades.

LABYRINTH

I'm out in Tucson, AZ right now for a reclusive Christmas vacay. At the resort here there is a small labyrinth that was designed and blessed by a local Native American. As I walked through it this morning many thoughts came to mind. I'd like to share just one here.

The walls of this particular labyrinth are made up of small 6-8" round stones that have been uniformly stuck into the dirt and protrude vertically to create the guiding map for the journey. At the center there are about twenty stones, some stacked on top of one another. And you can see these stones in the center as you walk.

One of the potential complications with labyrinths is that the center, which is meant to represent nearness to God and Self, is often far away from the walker. This aspect to the labyrinth can cause one to suppose that God is always far off, awaiting our arrival to some ambiguous culmination. And in one sense this is true. We cannot reach the fulness of relationship with God until Christ returns to establish the Reign of God in full.

However, as I walked the labyrinth this morning I noticed some important symbolism (intentional or not) within the layout of the stones. While there were many stones in the center - the very place where God and Self would come together - there were also stones guiding the way to the center. Not only were stones representative of the goal, but they were the light for the pilgrimage.

I very much appreciate this because it underscores the fact that God is not always a far-off concept or something "up there." Rather, God is also very much involved in each step of the way; in the messy reality of life.

The key to this theological metaphor, however, is that one must notice the center stones before gaining the ability to notice the guiding stones. That is, what you know about the center affects how you see the periphery. Again, how you see the goal will ultimately affect your ability to see the journey.

As I walked the labyrinth, this was a helpful discovery. I hope that it offers the reader a reminder to be on the lookout for stones guiding your own journey.

What Child is this who, laid to rest
On Mary's lap is sleeping?
Whom Angels greet with anthems sweet,
While shepherds watch are keeping?

This, this is Christ the King,
Whom shepherds guard and Angels sing;
Haste, haste, to bring Him laud,
The Babe, the Son of Mary.

Why lies He in such mean estate,
Where ox and ass are feeding?
Good Christians, fear, for sinners here
The silent Word is pleading.

Nails, spear shall pierce Him through,
The cross be borne for me, for you.
Hail, hail the Word made flesh,
The Babe, the Son of Mary.

So bring Him incense, gold and myrrh,
Come peasant, king to own Him;
The King of kings salvation brings,
Let loving hearts enthrone Him.

Raise, raise a song on high,
The virgin sings her lullaby.
Joy, joy for Christ is born,
The Babe, the Son of Mary.