Elijah and Obadiah

Obadiah bowed low to the ground, saying, “Is it really you, my lord Elijah?”  I Kings 18: 7.

The sermon below is a preached version of an article I wrote long ago analyzing the story of the beginning of the prophet Elijah’s ministry.  That beginning is told in I Kings 17-19, and you can read the article (“Elijah: The Growth of a Prophet“) to see how different the two styles of presentation are.  There are probably a dozen other ways (or more) the article could have been transformed by speaking it as a sermon.

The gist might have been the same, however. That God’s primary work is not through the world of nature—not through earth, wind, fire, or water—but in the human heart.  At the beginning of his storied career as perhaps the most glamorous, spectacular prophet of all time, Elijah relied too much on God’s presence as someone who could manipulate nature in miraculous ways, and not as someone who spoke deeply—and often quietly—to the human heart.  Jesus complained of people needing signs and wonders in order to believe.  To “doubting Thomas” Jesus said, “Because you have seen me, you have believed; blessed are those who have not seen and yet have believed.” (John 20:29)

Here my first approach to I Kings 17-19 is literary.  This passage was always a centerpiece in my course Sacred Texts as Literature.  Over the years hundreds of students took this course, one of whom is now a bishop in the United Methodist Church!  We studied portions of five sacred texts—The Bible, Qur’an, Dhammapada, Tao de Ching, and Bhagavad Gita—and this passage in I Kings was one of the most compact ways to demonstrate the qualities of a good, literary story.  It has a compelling character, a structure where the main points are foreshadowed right at the beginning and circled back to at the end.  It also has some weight: looming behind it is an important theme—here the idea that Jahweh, Jehovah, was not primarily a nature god.  And it is surprising: here the main surprise being that after all the miracles Elijah had experienced and performed himself, he so easily caves in when King Ahab’s wife, Jezebel, threatens him. And as a further surprise, it’s Obadiah, the one in charge of the king’s palace, the one who comes off as a somewhat comical character when he’s first encountered, who exhibits more courage than anyone in the story.  Elijah would have to grow much more to understand Obadiah’s courage.

This sermon was preached during a time of significant transition at our church. During these times courage is certainly a factor, but perhaps even more is also a steadfastness that causes us to do what we feel is necessary—even if entails only smaller things—day after day.  That lesson Obadiah also teaches us.

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

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Elia Peattie: Instituted by Women

This is one of a large series devoted to Chicago writers.  These articles are expansions of ones written as introductions to two anthologies of Chicago writing I did: first, with David Starkey, Smokestacks and Skyscrapers, and second, my Black Writing from ChicagoSee links at end to go to complete lists of the writers covered, and to the Chicago Literary Hall of Fame, a leading literary organization I am currently on the board of.  Most of this article was written by David Starkey.

Today she may be better known as the mother of naturalist Donald Culross Peattie, but in her day Elia Wilkinson Peattie was a crusading reporter and editor for the Chicago Tribune and the author of more than 30 books.  Born in 1862 to a proud, financially unsuccessful father, Elia Peattie was forced to quit school in seventh grade, her early poverty giving her a work eteic that never abated.  She married a fellow writer, Robert, who was remarkably supportive of her career.  In fact, she sometimes dictated stories to him in the evening as she sewed.  Influential as a critic as well as a social reformer, Peattie was an outspoken advocate of women’s suffrage and women’s rights. She died in 1935.

In our book Smokestacks and Skyscrapers: An Anthology of Chicago Writing, we included a passage from her 1914 novel The Precipice, a novel of ideas.  It chronicles Kate Barrington’s escape from downstate Silvertree to Chicago, where she becomes involved in social welfare.  Working for a time with Jane Addams (with whom Elia Peattie herself was friends) Kate, by the end of the novel, is offered the directorship of the Bureau of Children by the President of the United States. After deflecting a number of lesser proposals, she also manages to find a husband willing to honor her sense of independence.

Chapter 5 shows Kate balancing the demands of her own strong will and conscience with the constraints of early 20th Century society.  She is carrying a neglected infant in her arms when she runs into two acquaintances, one of whom, Mrs. Barsaloux, is appalled that Kate would actually touch a poor child.  After listening to Kate recount some of her troubles as a social worker to her friends David and Honora Fulham, we admire (or perhaps wince at) the way she is able to gracefully handle Dr. von Shierbrand, who “expected women to be amusing.”  One of Chicago literature’s early feminist protagonists, Kate has the courage to wonder “what sort of world it would be if there were no men in it at all.”

In the second paragraph of the excerpt from The Precipice, we read: “It was her business to adjust the lives of children—which meant that she adjusted their parents’ lives also. She arranged the disarranged; played the providential part, exercising the powers of intervention which in past times belonged to the priest, but which, in the days of commercial feudalism, devolve upon the social worker.”  Here a self-righteous paternalism—or maternalism—shines through but also the precision of Elia Peattie’s style.  And with the phrase “commercial feudalism” we see Peattie place her feminism within an economic context perhaps more pertinent today than it was in the early 20th Century.

Go HERE for a list of Chicago writers, many from Smokestacks and Skyscrapers, and HERE for a list of Black writers, many from Black Writing from Chicago.  Read my article on the founding of The Chicago Literary Hall of Fame, where I currently serve on the board of directors.

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Becoming a Flower

I knew that if I preached long enough I would either have Matthew 6:25-34—or parallel passages in Mark and Luke—assigned to me if I spoke on a Sunday that these passages were the Lectionary readings.  Or I would just choose them myself to get over the waiting.  Thus, the Video below: a sermon where I actually chose to speak on the passage, at least the Lilies of the Field part.  The passage is from Jesus’ Sermon on the Mount and uses birds and lilies to illustrate why we shouldn’t worry.  They have bothered me for a long, long time.  Similarly, the song “Ebony and Ivory” has irritated me ever since Paul McCartney and Michael Jackson decided to get together and write some hits, and sure enough “Ebony and Ivory” became one.  It spent seven weeks—SEVEN!—atop the Hot 100 chart in the U.S., becoming McCartney’s longest, post-Beatles chart topper.  I hate that song, as do many others.

On March 26, 2022, Sam Kemp wrote this for the UK’s Far Out magazine: “There’s a reason the comments section is turned off on the ‘Ebony and Ivory’ Youtube page. The 1982 duet between Paul McCartney and Stevie Wonder is undoubtedly one of the most hated pieces of music ever to emerge from a recording studio, ranking just below Mr Blobby’s 1993 Christmas Number One, ‘Mr Blobby’ in terms of its capability to make you want to eat your own ears. It was loathed at the time and, 40 years later, I don’t see much reason for that disdain to let up: ‘Ebony and Ivory’ isn’t just painfully dull on a musical level, its whole message is also dangerously reductive.”  It reduces the problem of racism to a stupid metaphor: black and white keys get along harmoniously on a piano keyboard, so why can’t we.  It’s a simple-minded, insulting take on what Rodney King said with great passion and tragic sadness: “Can’t we all just get along?”  The simple answer is that we humans can’t get along like black and white piano keys because—well, we’re not piano keys.  That the song was so popular is another indication of how much Americans wish racism was something so simple they wouldn’t have to think about it at all.

While I don’t hate the Lilies of the Field passage as much as “Ebony and Ivory,” I have roughly the same reaction to Jesus’ injunction not to worry because, well, lilies don’t worry about what to wear and look how beautiful they are.  Yeah, but they’re flowers.  Humans are not.  Usually I give a fairly detailed summary of sermon videos.  This time I’m just inviting you to watch it.  It’s not, in my opinion, an altogether convincing defense of this passage, partly because I still am bothered, sometimes irritated, by it. But I feel bound to try to take everything Jesus said seriously, and of course worrying is one of the things that does ruin so much of the peace we could have had if only we could stop worrying so much.  I’ll only say that the main idea is be rooted, like a flower is rooted.  But here the “soil” I speak of is trying to be rooted in the present, and trying to be rooted in God’s love and grace.

It’s important to note, too, that I begin by talking about Martin Luther King Jr’s so-called “Riverside Sermon.” It was, I believe, his greatest sermon, given during the height of the Vietnam War.  Worrying too much also generates tremendous fear, and what struck me about MLK Jr’s sermon is not only its fearlessness, but also this circumstance.  One year to the day he first gave this sermon, he would die at an assassin’s hand.  The night before that he gave his “Mountain Top” sermon.  It was as if he knew he didn’t have long to live.  “Tonight I’m not worried about anything,” he said, “I’m not fearing any man.”  Though he and the crowd were absolutely charged with emotion, there was a peace there, too, one that passed all understanding.  He was rooted…almost like a flower.

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

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