The 2023 Printers Row Literary Festival

Come join us for the 38th Annual Printers Row Literary Festival in downtown Chicago this September 9th and 10th from 10 in the morning till 6 in the evening.  Click the link just above for all the details, including a full list of the speakers, the events, the venues, the directions and more.  (You can also access the complete schedule on this site Here.)  It’s the largest, free literary festival in the Midwest. The events range from programs for children to readings and conversations with authors of poetry, fiction, and non-fiction, headlined by Toluse Olorunnipa and Robert Samuels, authors of His Name Is George Floyd: One Man’s Life and the Struggle for Racial Justice, winner of the 2023 Pulitzer Prize for Non-Fiction.

On Saturday, the 9th, at 11:15 a.m. on the Feinberg Foundation Stage, the official Welcomes begin from Commissioner Erin Harkey, Dept. of Cultural Affairs & Special Events, Chicago Public Library Commissioner Chris Brown, Illinois Secretary of State Alexi Giannoulias, and Janice Feinberg of the Joseph & Bessie Feinberg Foundation.  After that Toluse Olorunnipa and Robert Samuels take the stage for a conversation with WBEZ’s Natalie Moore about their Pulitzer Prize winning book.  But the festival actually begins more than an hour earlier when, at 10 a.m. on Center Stage, Miss Chinatown 2023 Amy Xie will do a program for children, telling the story of “Chang’E and Houyi Goddess of the Moon.”

I’ll be there, too.  On Sunday, the 10th, at 1:00 p.m. on the Feinberg Foundation stage I’ll be privileged to moderate a conversation between two literary greats, Ana Castillo and Reginald Gibbons.  They’ll read from their latest work, Ana from her story collection Doña Cleanwell Leaves Home, and Reginald from his latest, Sweetbitter, his first novel. And afterwards we’ll talk about what’s kept them going through their long, illustrious literary careers.  The program’s called “Going the Distance,” and I didn’t need to read very far into Ana Castillo’s latest book to find a possible place to start.  The Prologue to Doña Cleanwell begins: “It starts with the journey; as ever, whether Quixote or Kerouac, you are in search of the Divine. In search of Light, we may find ourselves in a dark room, an abandoned building, on a long thorny road with no end.”

After hosting my session, Linda and I will take charge of the Chicago Literary Hall of Fame table from 4 to 6 p.m.  Table?  Yes, along with over 210 speakers and presenters, and some 75 events, there will be dozens and dozens of exhibitors lining both sides of Dearborn St. for a couple of blocks. Book sellers, literary organizations, shops, and some food vendors, too.  It will be something to behold and remember for a long while.

In addition to the Chicago Literary Hall of Fame website link above, check out many of the articles I’ve written for this site, starting with “The Chicago Literary Hall of Fame.”  This article will soon be updated with links to all the articles I’ve written about the CLHOF and its various events.  My friend Amy Danzer, current president of the Hall’s Board of Directors, is also the Director of Programming for the Printers Row Literary Festival.

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What’s Easier?

The 10th and 11th chapters of the Gospel of Matthew are tough going. They’re full of violence and, for those that choose to follow Jesus, intimations of violence.  Perhaps most famously there’s Matthew 10:34-36: “Do not think that I have come to bring peace to the earth. I have not come to bring peace, but a sword. For I have come to set a man against his father, and a daughter against her mother, and a daughter-in-law against her mother-in-law. And a person’s enemies will be those of his own household.”  You’re to “take up your cross.” If you love your father more than Jesus, you’re not worthy. Continuing on to chapter 11, Jesus says that at the judgment it will be worse for Capernaum, his home area, than it was for Sodom. Yet chapter 11 ends with one of Jesus’ most famous utterances. It’s about rest and lightness when he invites people to come to him because his yoke is easy and his burden light.

It’s a head-turning surprise if you’ve been following with any closeness at all.  In what sense is following Jesus easy?  The VIDEO below is of a sermon where I try to grapple with this idea.

I had wanted to start by playing one of the toughest rock songs of all time, John Lennon’s “Cold Turkey,” especially the song’s end, where he conveys with frightening groans and screams what it’s like to try to kick heroine addiction “cold turkey.” The congregation was spared from the gut-wrenching experience when our tech person extraordinaire, Daniel Chavez, informed me that since we were live-streaming the service, we didn’t have the rights to use that song.

But to the question what’s easier, going through the intense pain of cold-turkey withdrawal or continuing to take drugs, I thought a significant number of people—perhaps most?—might just continue to take drugs.  A less painful choice in the short run, perhaps, but not in the long run? Perhaps that’s the simple concept: short vs. long runs.

I explore two areas in which Jesus asks us to do some hard things, but things which make our lives incalculably richer in the long run, sparing us and others the pain of choosing a seemingly easier path.  The first is facing yourself: who you are, what you’ve done, and what’s been done to you, and the second is staying in the present.

Resmaa Menachem, in his book My Grandmother’s Hands, writes about choosing clean pain over dirty pain.  I think Jesus urges us to chose clean pain over dirty pain—that is, to truly face who we are, rather than choose the path of dirty pain where we avoid the realities of ourselves, deny the pain we have both suffered and caused, and instead blame others for what we do and become.  He also urges us to do something that may sound simpler but is not: to stay in the present.  I think these two things must be deeply related, though I’m still thinking through the how’s and why’s of this so didn’t go into it in my sermon.  In any case, because both are difficult, I end by turning briefly to the Epistle passage associated with this Gospel passage in the lectionary readings for the Sunday I preached this sermon. It’s the famous passage in Romans 7:15-25, where Paul says the things he would like to do he can’t, but the things he does not want to do, those things he does. Jesus’ grace delivers us from this perplexing paradox, not necessarily by taking away the conflict, but by understanding its deep roots in human life and offering us grace as we struggle through it. We truly want to face ourselves, I believe, but often end up doing the opposite. We want to be lighter in life by staying in the present, but often weigh ourselves down by borrowing trouble from tomorrow and next week and next year.  I recently saw a t-shirt with these words on the front: “The future is where anxiety lives.” Amen to that.

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

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Remembering Sinead O’Connor (1966-2023)

I saw it live myself, that 1992 SNL show where Sinead O’Connor ripped up a picture of Pope John Paul and declared, “Fight the real enemy!”  Like millions of others my first reaction was, Did I see what I just saw? Yes. And while it was probably the most notorious thing Sinead O’Connor did in her short life, it wasn’t by far the only notorious thing, nor the bravest either. Immensely talented, and immensely angry at the nonsense of the world, she led a very troubled life. She reacted poorly to fame, to what Joni Mitchell called “the star-making machinery behind the popular song,” refusing to attend the Grammy’s during some of her greatest triumphs because of the industry’s overwhelming materialism.  Her religious travails, her stormy relationships, the death by suicide of her son Shane—these are all widely documented and easily accessible.

Her fierce activism over a wide swath of causes often overshadowed her music, though much of that music is so wonderful it will forever stand strong among the legacies of her life.  From her debut album The Lion and the Cobra (with its hit single “Mandinka”), through perhaps her biggest hit, a cover of Prince’s “Nothing Compares 2 U,” her was voice was always described as beautiful, forceful and, especially, haunting. For me that haunting reached its height in her almost impossibly beautiful cover of the Elton John / Bernie Taupin song “Sacrifice.”  It plays in my head a lot, and always when I think of her, as do thoughts on the relationship of pain and art.

James Baldwin said of the artist “that the things which hurt him and the things which helped him could not be divorced from one another.” Indeed, many of our greatest artists are in reality the walking wounded among us, feeling things most of us are too afraid or our common sense steers us away from feeling. Of course, lots of their troubles they bring on themselves—and others—but that should not turn us away from the wonder we feel as they turn their pain and turmoil into a beauty that does make us feel more deeply.  That’s another way of saying, Just listen to “Sacrifice.”

Or to the song in the VIDEO below.  Besides “Sacrifice,” it’s the one I think of when I think of Sinead O’Connor.  In 1995, two years after her Pope-picture-tearing episode, she appeared with Van Morrison and the Chieftans—in a gathering of some of Ireland’s greatest—to sing “Have I Told You Lately That I Love You” on Late Night with David Letterman.  It’s one of my favorite pieces of TV, which I just happened to be recording on an ancient dvd recorder. I like to remember Sinead O’Connor this way because it’s such a contrast to the torturous aspects of her life.

“Have I Told You Lately” is very beautiful on one level, but on another it’s also kind of corny and cliché, and I believe Van Morrison knew that.  His version of the song has muscle, and distance, and a kind of knowingness absent from Rod Stewart’s cloying hit version of the song.  His performance here shows he didn’t take the song half as seriously as many others did, including Sinead O’Connor, who starts out singing with such utter seriousness, until she gives in to Van’s goofiness. Also, though Morrison gave us some of the greatest grooves in Rock history, he was often stiff and clumsy as a performer.  Here, among other things, he loses control of his mic as he’s singing blah blah blah into it, then bangs into her mic stand as he approaches her at song’s end. She can barely contain a giggle, and her smiles are luminous. I like remembering her like that just as much—maybe even more—than when she’s singing “Sacrifice” and we’re remembering the travails of her life.

Go to Reviews on this site.

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