“In a moment, in the twinkling of an eye, at the last trumpet, the trumpet will sound and the dead will be raised imperishable, and we shall be changed forever.” – 1 Corinthians 15:51-52
We were not meant to die. We were meant to live. We were meant to live forever. That may sound absurd to many, given that we all do, in fact, die. But as a Christian I believe death is an intruder. I believe it is the wage of sin (Rom 6:23) and an effect of living in a broken, fallen world. (Gen 2:17, Rom 5:12) I don’t believe this is a blind faith either. As a pastor I spend time with many grieving people, and one prevailing emotion they all seem to share is that the death of a loved one feels wrong—like it’s not supposed to be this way. I believe they’re right and I believe the way our bodies fight to heal themselves when they’ve experienced something traumatic supports this idea that we were not meant to die, but to live.
A few weeks ago I had open-heart surgery. Something happened to me while I was on the operating table that has me thinking about how we were meant to live and not die. No, I didn’t talk to an angel or spend five minutes in heaven or have a prophetic vision. I had a stroke—a small one known in the medical world as a reversible ischemic neurologic deficit, or RIND for short.
“When times are good, be happy; but when times are hard, consider this: God has made the one as well as the other. Therefore, no one can discover anything about their future.” – Ecclesiastes 7:14
In less than twenty-four hours I will be lying unconscious on an operating table. My wrists and ankles will be in restraints and I’ll have a breathing tube down my throat. My chest will be open and a machine on a cart beside me will perform the work of my heart and lungs while a surgeon and his team attempt to repair, or if that’s not possible, replace my heart’s mitral valve.
Mitral valve repair is a relatively safe surgery, especially for a guy my age—major for me but routine for my surgeon, I’m told. I am confident everything will go according to plan, and I’ll emerge from the anesthesia sore but ready and eager to rehabilitate. Nevertheless, I have agreed to let a team of highly trained medical professionals stop my heart tomorrow in order to remove a part of it, and then sew it back up and start it again. So in light of that reality, I’ve spent the past couple of weeks writing letters.
Ten years ago I met a woman named Alice. She was in the late stages of a very aggressive cancer. She moved to the Kansas City area so she could spend the last weeks of her life close to her daughters. One Sunday Alice and her girls visited our church. She wore a floral print bandana on her head because the chemotherapy and radiation had taken her hair. I introduced myself after the service and she asked if I could meet her for a cup of coffee.
We met the next day and Alice told me some of her story. She had experienced more pain, loss, and grief in her fifty-one years than anyone I could recall, and that was all before she found out she had cancer. Somewhere in all her Job-like suffering Christ had taken a hold of her and, as she said with the joyful sincerity of a child, had promised not to let her go.
I asked what brought her to our church.
She said, “I want you to bury me.”
“You formed my inward parts; You knitted me together in my mother’s womb. I praise you, for I am fearfully and wonderfully made. Wonderful are your works; my soul knows this well.” – Psalm 139:13-14
I watched the ceiling tiles pass overhead as the radiology nurse wheeled my gurney into the room where she would perform my echocardiogram. I remember thinking the dimly lit room felt familiar. This was my first echo and I knew I hadn’t been in this room before. But I had been in one like it. More than once, too. But when? And then I remembered—my babies.
My wife and I have four beautiful children. During the doctor visits leading up to each of their births, she and I were taken into rooms just like this one—peaceful, spacious, warm, and clean. We’d take our places—she on the paper-covered bed, me in the chair beside her, both of us wide-eyed with nervous excitement waiting for the doctor to come in and show us something we could hardly believe was possible—a live video of our unborn child kicking away in my wife’s womb.
The first time we went in for an ultrasound I remember being surprised that the equipment wasn’t larger, given the task it was built to perform. The sonogram machine stationed next to the bed didn’t look like much more than a low-profile computer cart with a few unfamiliar accessories neatly resting in their places. Surely a wonder like the one we were about to experience would require my wife to be squeezed into some sort of giant hi-tech tube. Or if not that, shouldn’t there at least be a luminous belly-shaped dome on a large mechanical arm controlled by a technician behind a wall of glass? This room had neither. There was just a computer, a display screen, a moon-shaped wand, and a squeeze bottle of warm lubricating gel.
Tradecraft: noun \ˈtrād-ˌkraft\ – skill acquired through experience in a trade; often used to discuss skill in espionage.
One long standing hope since the Rabbit Room’s inception was that this online community would become a place where we look over one another’s shoulders at what we’re reading, thinking about, listening to, and learning. In an effort to focus in on learning how to grow in art, life, and faith, I present this new Rabbit Room series: Tradecraft. These posts will look behind the curtain into the mechanics of how things work in the world of thinking, composing, engaging, and creating. I hope the content of this series will reach well beyond the arts themselves and into every facet of life.
Today’s tradecraft deals with critical thinking—specifically, reasoning and logical fallacies, helpfully and humorously presented by the folks at yourlogicalfallacyis.com. I found them through one of my favorite websites in the world—twentytwowords.com—which linked to a much more interesting high res PDF of the image and content I’ve included below.
The poster says a logical fallacy is:
“a flaw in reasoning. Strong arguments are void of logical fallacies, whilst arguments that are weak tend to use logical fallacies to appear stronger than they are. They’re like tricks or illusions of thought, and they’re often very sneakily used by politicians, the media, and others to fool people. Don’t be fooled! This poster has been designed to help you identify and call out dodgy logic wherever it may raise its ugly, incoherent head.”
If you’re anything like me, you’ll probably find yourself guilty of more than a few of these. Here they are—24 logical fallacies.
(Passion Week is upon us. We ran this post last year, and it occurred to me– a little late this year, I’m sorry to say– that it might be a good one to run again as we prepare our hearts to celebrate Easter. As a pastor, I have the honor of putting together and leading not only an Easter worship service, but also a more contemplative Good Friday service for our congregation. That Good Friday tenebrae service stands as a sober reminder that the greatest gift God has given His people came at so great a cost. The daily readings below, which reflect my best estimates concerning what happened during the last week of Jesus’ earthly ministry before the cross, take us deep into the drama, the hope, the violence and the unmatched mercy unfolding in God’s answer to our deepest need. I hope these readings help to immerse you in that story this week. – Russ Ramsey, March 25, 2013)
In John 10, Jesus said, “No one takes my life from me, but I lay it down of my own accord. I alone have the authority to lay it down, and the authority to take it up again, and this charge I received from my Father.”
This is a statement worth testing. Does the Scriptural narrative tell the story of an inspirational man martyred because He was in the wrong place at the wrong time, and simply couldn’t avoid capture? Or do the last days of His life tell the story of someone intentionally offering Himself up, on His own terms, by His own authority? As we approach Easter, have you ever taken the time to really examine what took place on each day of the week from Palm Sunday to Resurrection Sunday? Here’s a daily reading guide for each day of Easter Week.
This past July, Emma Coats, a storyboard artist at Pixar, compiled a list of narrative wisdom gleaned from her years working in their animation studio. She originally released these insights as tweets, which accounts for the unusual abbreviations and contractions. Lots of wisdom here. She twote:
1: You admire a character for trying more than for their successes.
2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
What jumps out at you? Do any of these surprise you? Are there any you disagree with? Are there any you would add?
“Read the confessions, the memoirs, the court room transcripts. There is always a line the scoundrel steps across and becomes a wanted thing.” — Leif Enger, So Brave, Young and Handsome
Last month, through the wonders of social media, I learned the sad news that my middle school vice principal had died—Steven Van Horn, or Mr. Van Horn to you and me.
It had been well over half my life since I last thought of him, but seeing his picture there beside his obituary brought back a crystal clear memory of what had to be one of the more formative moments of my young life. It was the day that man paddled me.
It happened when I was in 7th grade, during Mr. Fratus’s math class. Mr. Fratus had left the room for some reason, and while he was gone well over half of the kids used that as an opportunity to get out of their seats and move around his classroom with a kind of cavalier leisure that Mr. Fratus’s generation regarded as a corporal offense. Schools were meant to be places of order and respect for authority.
When the lookout (a necessary thread in the fabric of youthful scheming) warned, “He’s coming!” everyone rushed back to their seats and did their best to act causal. When Mr. Fratus walked back into the room, he regarded us for a moment and said, “Everyone who was up out of their seats while I was gone, out in the hall.”
In January, I wrote a piece about the benefits of following an artist over the course of his or her creative life. Charlie Peacock was my personal Exhibit A. Here is a piece Charlie wrote back in 2010 that dovetails well. It’s about the joy of following a piece of gear– namely, one particular Fender Rhodes– over the trajectory of its creative life. (As a bonus, Charlie also gives us a not-too-shabby mini-history of his early career, and also of the electric piano’s impact on music, offered in the form of hyperlinks.) Enjoy. — Russ Ramsey
This past April  I was in Los Angeles meeting with film producer Brian Wells and music producer/Idol icon Randy Jackson about production work on their soundtracks. Later that evening I met up with Svend Lerche and Ran and Ricky Jackson of The Daylights for Indian and good conversation. I’m working with the band as part of Twenty Ten Music‘s Film/TV partnership with Secret Road. Our most recent placement is the song “Oh Oh” in Rabbit Hole starring Nicole Kidman, Aaron Eckhart, and Sandra Oh.
After dinner we headed to the band’s house in Studio City to listen to new songs. Like every band house I’ve ever been to this one was stuffed with gear, including three upright pianos. I made an obvious alliteration about a plethora of pianos. They gave me the Craigslist story on the instruments. Then one of the fellas, pointing to a little dining alcove said, “We’ve got an old electric piano over there.”
“There was some one thing that was too great for God to show us when he walked upon our earth; and I have sometimes fancied that it was his mirth.” – G.K. Chesterton, the closing line of Orthodoxy
I love the detail of Scripture. I love the bits God has elected to include—like how Jesus ended his last supper in the upper room, right before his arrest, by singing with his friends. (Mark 14:26) And I love the mystery of what he has left out—like what ever came of Nicodemus, for example. (Jn 19:39)
I am currently working on the follow up to my first book, Behold the Lamb of God: An Advent Narrative—a 25 chapter retelling of the story of the need for and the coming of Christ from Genesis through the nativity. The new book will be a Lenten companion—40 chapters tracing the narrative of the life, ministry, death and resurrection of Jesus as found in the four Gospels. I hope to release it before the end of the year.
The opening chapters of the new book take us into the early part of Jesus’ story when he was, for all intents and purposes, unknown to the world. Though we read it knowing what is coming, the people around him had no idea who he was or how he was about to change the world.
Charlie Peacock released his new record, No Man’s Land, this past fall. Charlie and I have been friends for close to twenty years, and I was a huge fan for years before that so I asked him for an early copy to review here. He was gracious enough to oblige. I imagined I’d listen to the record, mention a few key high points and invite you to pick up a copy.
That was a few months ago. Yes, life has been busy. But the reason I’m so late in getting to this “review” is because I’ve been spending a lot of time with the record, and it’s stirring things in me that have not so much to do with the record itself (which is, in my estimation, his best work—and for me, that’s saying a lot) as with how a great artist’s work works on those who invest in it over the span of time.
Consider Paul Simon. It was only a few years ago when I discovered Paul Simon. Sure, I knew who he was. I’d heard a bunch of his songs. I even knew I was supposed to say yes if anyone asked if I thought Graceland was one of the best records ever made. I knew all that.
“No poet in the world has written a more beautiful short story.” –Alexander Schröder, about the Book of Ruth
The church where I pastor started this year by going through the Old Testament book of Ruth. Ruth is a short book nestled in between some of the most pivotal and epic stories God’s people would ever pass down through the generations: you’ve got Samson, Joshua, Gideon, and the entrance into the Promised Land on one side and King David, Solomon, and the best and worst of the rise and fall of the Kingdom of Israel on the other.
But there in between is Ruth—part tragedy, part romance, part survival story, and all heart. Goethe called it, “the loveliest complete work on a small scale, handed down to us as an ethical treatise and an idyll.”
When I prepare sermons, I edit with a particular eye. I’m working to put together the key themes and events of a Biblical text in such a way that they take a room full of people to the foot of the cross—to that place where our deepest needs are met in God’s gracious provision.
I believe the power of preaching resides with the Holy Spirit’s work in the hearts of God’s people. At the same time, I also believe God wants me to care deeply about the craft of preaching and my personal development as a communicator. Those two truths make sense together. I approach sermon writing as a skill, an art, and a God-directed mystery, and I want to be more skilled, more artistic, and more God-directed as I grow.
My friend Charlie Peacock (husband of Rabbit Room Press’s own Andi Ashworth) recently posted this comment and the following link to an interview with Paul Simon on his Facebook page. This is the story of a man in a rich, challenging, honest process.
“It’s heartbreaking how divisive people can be when it comes to their opinions about God. There’s nothing so destructive as when the conversation is reduced to: You’re an idiot if you believe – you’re an idiot if you don’t. Like Coltrane, Johnny Cash, Bono, and Dylan, the great American songwriter Paul Simon keeps bringing his spiritual search into the public square in winsome and graceful ways. Here’s a transparent, honest interview that Paul did with PBS earlier in the year. This is how you talk about your spiritual life and quest in public without coming off as a lightweight, a bully, or a know it all. This is human, artistic process where every sphere of life and curiosity finds it’s way into your art. The art informs the world but turns back to you, continuing to inform you, bring you pleasure, and inspiring your ‘eyes to see and ears to hear.'”
What did I think would happen? I suppose I hadn’t really thought about it. Still, what actually did happen came to me as a bit of a surprise.
The concert started at 7:30, the doors opened at 6:00. At around 5:00, I stopped by the venue to buy my ticket. What did I see? A line. There was a line. Fans were already gathering so they could get right up to the front of the stage—fans wearing Stryper t-shirts and holding records they hoped to get autographed.
Why did this surprise me? It wasn’t that Stryper had fans. Of course they had fans. The surprise was how willing these fans were to identify themselves as such. And even more, how unwilling I was to do the same.
Lest you think I’m using Stryper or their fans as the punch line of a joke, let me explain myself. For close to a decade of my life, when I told people I was a Stryper fan it was a badge of pride. Then there came another decade where, when I mentioned liking them, people thought I was joking and I sheepishly denied it. Now I’m in a decade where people buy music, concert tickets, and t-shirts for ’80s big-hair metal because they think it’s “ironic.”
“We will rock the hell out of you.” –Stryper
Last weekend when I heard about a certain concert happening in my city that night, I sent out a tweet that has been bugging me ever since. I twote:
What bugs me most about that tweet is how much effort I spent qualifying something I genuinely wanted to do. “I may or may not…,” “Don’t Judge Me…” Insinuating that if I go, it’s for nostalgia. Why did I feel the need to distance myself from going to see the one band who has probably received more of my money and bedroom wall space than any other in the history of the whammy bar?
For those unfamiliar with Stryper, a little history might be in order. They formed in the early 80’s, appearing on LA’s Sunset Strip music scene with other big-hair metal bands like Motley Crue, Cinderella, Poison, and Ratt. If you know these bands, you get the picture—long hair, spandex, ear rings, make-up, lots of promises to rock people—no matter where they’re from—and to rock them for seemingly unending periods of time.
Stryper, from the beginning, occupied rarified air. If you were going to make it in that industry, there had to be something about you that 1) made you stand out, and 2) made people like you. With their yellow and black attire and their commitment to singing plainly about their faith in Jesus and the free offer of the Gospel, they certainly stood out. However, I expect both of those characteristics made the “make people like you” objective a little more of a battle. Why? Because lyrically and morally, they were swimming against the current of their competing colleagues’ core values.
“One turns at last even from glory itself with a sigh of relief. From the depths of mystery, and even from the heights of splendor, we bounce back and hurry for the latitudes of home.” – Annie Dillard, Total Eclipse
Oh, to have been present at San Diego’s Glorietta Bay on July 4, 2012.
If I add up all the Fourth of Julys, Friday Nights at baseball stadiums and New Years celebrations, I bet I’ve seen close to fifty different fireworks displays over the course of my life. I’ve seen them from my seat in the third balcony at Busch Stadium, from the bed of a pickup truck in rural Indiana, and from a community college front lawn in Kansas City. There was even the fortuitous occasion where I was sitting in the window seat of a Delta flight over St. Louis thirty minutes after dark on Independence Day. Dozens of bursts of light dotted the landscape below as far as I could see. I was surprised by how small they looked from 30,000 feet.
Then there was the time I lay on the pavement of the casino parking lot in an Indian Reservation in central Washington where normal zoning and safety laws did not apply. The rockets burst in the sky directly overhead, raining down little bits of acrid paper all around us.
But nothing I’ve ever seen could come close to what the people of San Diego witnessed this past Fourth of July. What was supposed to be a twenty-minute display ended up lasting just fifteen seconds as a malfunction in the detonators caused the entire display—hundreds of individual fireworks—to all go off at once.