What Eli Heard: A Birthday Sermon

I had lots of trouble preparing the sermon below.  I struggled perhaps because I was trying to do so many things, chief among them being to speak about the scriptures of the day and emphasizing transitions during a landmark time in my life.  I was preaching on my birthday, my 75th birthday. In spots, my delivery is softer and slower than it’s ever been.

The year leading up to 75 was a tough one for me. I remember being as frustrated as I’ve ever been at times, and I often felt like I couldn’t keep up. On the other hand, the year had also been incredibly busy.  We took 10 major trips, worked a lot on race issues, and ended the year doing a kitchen remodel, where I carried in and out of the house 1000 pounds of tile, and laid a tile floor, all the while hearing my brother’s voice saying, “You’re almost 75! You have no business laying a tile floor!”  My wife was there helping all the way, but still I guess there was some excuse for feeling tired out, even old, something I’d rarely thought about before.

Three of the four main lectionary readings for this particular Sunday had to do with momentous transitions.  And I speak about each one, moving backwards through the Bible from the Epistle reading, to the Gospel reading, to the Pslam, and finally to the great 3rd chapter of I Samuel.  The Psalm (139: 1-6) gives us comfort.  In this case, it’s comfort even in the midst of great transitions, because God knows all your thoughts and hems you in, protecting you, from behind and out in front.  Speaking about transitions also made it hard to prepare and deliver this sermon.  I don’t plan to transition out entirely—though you never know, of course. I plan to be as much help as I can for as long as I can, but at 75 you have to be thinking about succession plans. Afterwards, a friend who had watched online texted me, saying, “We often talk about succession but don’t take action. We need to work on that soon because our congregation consists mostly of senior citizens.”  That’s a problem hardly unique to our church, though. (My friend added, “You were awesome.”)

I Samuel, chapter 3, begins stunningly, telling us that in those days the Word of the Lord was rare and there were no visions.  Time for a transition. Eli is the second to last Judge of Israel, and chapter 3 tells of the transition between him and his young charge Samuel, who becomes Israel’s last Judge and first prophet, the one who anoints Israel’s first two kings, Saul and David.  In chapter 3, God calls Samuel three times during the night, and Samuel, thinking it’s Eli that’s calling goes to him the first two times. Eli realizes that its God calling Samuel.  If he calls again, Eli tells Samuel, simply say, “Speak, Lord, for your servant is listening.

One of my favorite writers, James Baldwin, has written that one of the greatest things we can do for each other is to bar the way to spiritual ease.  We get comfortable, or busy, or otherwise distracted in life and forget the spirit, or just don’t hear higher callings very much anymore. The famous sentence “Speak, Lord, for your servant is listening” suggests three questions we can ask each other.  In the short run they’re challenges. In the long run they’re a form of encouragement.  We can encourage each other by asking: Have you asked God to speak to you? Have you asked yourself who you serve? And are you listening to the God who may be speaking to you?  Maybe not speaking in actual words, or course, but reaching you deeply in any of the many ways God can.  And that question about who you serve is crucial, too.  Bob Dylan’s nutty song “Serve Somebody” says that no matter who you are, what you do, where you sleep, what you like to drink, everybody has to serve somebody.  The song’s chorus holds out two choices: “It may be the devil or it may be the lord / But you got to serve somebody.”  In between those two choices there’s a bewildering array of masters, which makes it hard to hear who’s calling you and for what.  Eli—old, tired, blind, and troubled—nonetheless could hear God calling Samuel. He could hear a momentous transition coming.

 Go HERE for a complete list of sermons, like “Pentecost Means No ‘Supremacies,’” “Sacred Doing,” and “Theology and Race.”

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Henry Blake Fuller and the Fuller Award for Lifetime Achievement

This is part of a series on Chicago writers based on introductions in two of my Chicago books, Smokestacks and Skyscrapers (with David Starkey) and Black Writing from Chicago.  The links here take you to two lists comprising all the writers written about.

 

Born to a wealthy Chicago family in 1857, Henry Blake Fuller had a knowledge of and access to the world of successful businessmen and gentleman authors which informs much of his work.  Though some considered Fuller a rather polite writer who shied away from the deepest recesses of the human psyche, his work nonetheless brought a measure of renown to Chicago when its literature was at an early stage.  Moreover, his second novel The Cliff-Dwellers (1893) is probably the first novel ever set in a skyscraper, and certainly one of the first focusing on American urban life.  This novel, as well as 1895’s With the Procession, use Chicago’s explosive growth as their setting and are considered by many to be the earliest examples of American realism.  Even during the days of his own prominence, Theodore Dreiser called With the Procession the first piece of American realism he had encountered and considered it the best of the school.

In his literature, Fuller rebelled against the blatant commercialism of post-Chicago Fire Chicago, questioned the wisdom of upward sprawl, and explored themes of homosexuality in a time when to be so was strictly unacceptable. His boldness and commitment to high literature made him one of, if not the, most important first Chicago writers.  In addition to the two novels mentioned above, Fuller’s other notable works include the story collection Under the Skylight (1901), On the Stairs (1918), and Bertram Cope’s Year (1919).  Fuller also provided friendship and encouragement several other Chicago literary figures, including Hamlin Garlan and Harriet Monroe.  Though he travelled much, he died in his hometown in July 1929, just months before the Great Depression forever transformed the city he found so fascinating.

In our book Smokestacks and Skyscrapers: An Anthology of Chicago Writing, David Starkey and I included a fragment from With the Procession, which concerns merchant David Marshall’s relationship with his three children: Truesdale, the oldest, Jane, the dutiful daughter, and proud, pragmatic Roger.  Though much of the novel is concerned with the nuances of social status, it begins energetically enough with a description of Truesdale’s return to Chicago, a description which reflects the American realism Fuller helped pioneer:  “The grimy lattice-work of the drawbridge swung to slowly,  the steam-tug blackened the dull air and roiled the turbid water as it dragged its schooner on towards the lumber-yard of the South Branch, and a long line of waiting vehicles took up their interrupted course through the smoke and the stench as they filed across the stream into the thick of business beyond….”  Like Truesdale, Fuller came home to Chicago after living abroad with an artistic sensibility and snobbish attitude, and With the Procession seems to gently satirize an earlier, less discerning version of the author himself.

At present I’m on the board of the Chicago Literary Hall of Fame (CLHOF).  Its mission is to honor Chicago’s literary past by inducting our literary greats who have passed on into the Hall of Fame, nurture our future by reaching out to youth, and celebrating our greatest living writers with a Lifetime Achievement award named after Henry Blake Fuller.  (You can watch an edit of our most recent Fuller award ceremony celebrating the great novelist and lawyer Scott Turow HERE. I emceed parts of the show.)  The actual award, according to the CLHOF website, is a statuette “based on Hephaestus, the Greek god of the blacksmith’s fire and patron of all craftsmen. According to legend, Hephaestus was the only god who worked, and he was honored for having taught mankind that work is noble and one should excel at their craft.” It’s a fitting symbol for writers working their craft, a craft one of whose earliest practitioners in Chicago was Henry Blake Fuller.

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The Affordable Housing Crisis

Of course we need more affordable housing in the U.S.  In recent studies of the homeless crisis, for example, lack of affordable housing was by far the largest factor driving homelessness—not, as many believe, mental health, poor choices, addictions, etc. But there’s a problem with affordable housing, too, especially when affordable housing becomes an end in itself.  When that happens people can become trapped in cycles of low income and poverty: a supposed cure becomes a mechanism for making it harder to move on. There’s an affordable housing crisis because there’s not enough affordable housing, but the deeper crisis is the way affordable housing is conceived of in the first place.

The VIDEO below shows Rick Guzman’s “visioin cast,” shown at this year’s Neighbor Project (TNP) gala.  Guzman is TNP’s executive director. The Neighbor Project uses affordable housing, but only as a tool to help people move on to eventual home ownership.  In doing this it attacks the root causes of our nation’s incredible and shameful wealth gap, not just its symptoms.

Many years ago a colleague of mine, the sociologist Doug Timmer, opened a conference on urban crises that I helped run by saying, “I’m just crazy enough to believe that the main difference between poor people and not-poor people is that poor people don’t have money.”  More accurately, they don’t have wealth, which is a deeper thing than money. In the U.S, owning a home is the surest way to build wealth and strong ommunities.

Many believe the concept and mechanics of affordable housing are broken. They’re inefficient, for one thing. For example, because TNP just uses affordable housing, one of its affordable housing units can serve five families per decade, while in the usual model of affordable housing one unit might serve just one family per decade, and sometimes just one family for many decades.  It doesn’t help families build wealth so they can move on.   Worse, the standard model of affordable housing builds wealth for the wrong people. Government tax credits finance well over 90% of affordable housing development today. This creates loads of wealth but only for those who already have wealth: namely, big developers and corporate tax credit investors.  Poor people remain at the subsistence level, getting along perhaps but not building assets that will help them move on.  Cycles perpetuate; they don’t get broken. That’s a primary reason poverty is a wheel that just keeps going round and round.

  Go to The Neighbor Project website. Read about and watch executive director Rick Guzman receive the Emerging Leader Award earlier this year.
  Read about our country’s incredible wealth gap, and the relationship between that wealth gap and the ability to own a home.

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