Longfellow Christmas Carol Writing Contest

Deadline Christmas Day!

What makes a poem a carol?  Listen to my podcast The Scriptorium at bondbooks.net/the-scriptorium-podcast for carol writing contest details (and prizes!). Do any of these qualify as Christmas carols? "Rudolf the red-nosed reindeer," "I'm dreaming of a white Christmas," "Frosty the snowman"? Most of us would agree that these represent more of the residual fluff that has emerged to pad the season with a sort of vague wintry charm, but they're not carols. 

How about Longfellow's poem written in 1863, "I heard the bells on Christmas Day"; does it qualify as a Christmas carol? Hate is still tragically strong and does indeed mock the song of peace on earth good-will to men, as we have so painfully been reminded of late. But is it really a Christmas--Christ worship--carol? Determined not to be a cynic, though the cannons of the Civil War were nearly drowning out the chimes of the Christmas bells, Longfellow takes a significant leap between the last two stanzas of his carol, and concludes, “God is not dead, nor doth He sleep; The wrong shall fail, the right prevail ...”

But how did he get to that conclusion? I think a genuine Christmas Carol, a hymn in praise of Jesus' coming into the world as a baby for the sole purpose, "...to save his people from their sins," fills in the gap between Longfellow's deep despair expressed in the second-to-last stanza of his poem, and his final inexplicable confidence that the right will somehow prevail over the wrong expressed in the last stanza. But what or rather Who bridges the gap between the despair and the hope? Answer with the gospel of grace alone in Christ Jesus alone and you have the material for a true Christmas carol.

Longfellow Christmas Carol Contest--prizes!
How to enter:
1. Subscribe to bondbooks.net
2. Share the contest on social media with two friends.
3. Write your own 5-line stanza (5th line is the same as Longfellow's) giving gospel reasons for Longfellow's optimism about the wrong failing and the right prevailing. Make sure you use the same meter and rhyme scheme Longfellow used. 
4. Go to bondbooks.net; after subscribing, click on contact and follow instructions.
Prizes:
1st--A free copy of my new release The Resistance.
2nd--A free copy of my book War in the Wasteland
3rd--A free copy of my New Reformation Hymns cd Rise & Worship​
Grand Prize for a Longfellow-esque lyric--50% discount on my April 2019 Oxford Creative Writing Master Class

Deadline December 25, 2018 bondbooks.net/the-scriptorium-podcast

BEWARE--DANGER! What happens when we subsume lyric to music in worship

More intent on the words than on the music

"We must beware lest our ears be more intent on the music than our minds on the spiritual meaning of the words.” John Calvin

THE HIGHEST USE OF POETRY--THE HYMN

In the course of my research and writing and teaching about hymns over the last couple of decades I have learned many wonderful things about hymns, hymn writers, and hymnody—and every time I open the hymnal (usually the Trinity) I learn something new! I love singing hymns. I love the very best of our hymn lyrics from the last seventeen hundred years or so, and I have come more and more to love them not only as heartfelt passionate expressions of praise to God but as the best of English poetry. It was American poet John Greenleaf Whittier who said, "The highest use of poetry is the hymn."  In addition, I love many of the timeless musical settings of great classic hymn poetry, and I appreciate a growing number of the new hymns that are being written by thoughtful Christian poets and musicians. Because I love hymns and singing so much, I totally agree with what John Calvin observed about music, "Music has a secret and almost incredible power to move hearts.”

As I incorporated the study and imitation of the best poetry worthy to be studied in high school English classes, however, I discovered some significant obstacles to understanding and appreciating hymns as poetry for this generation of Christian young people. Nowhere is this more obvious than when students attempt to write about hymns as poetry. I have taught my students to explore the meaning of poetry by writing poetry explications, essays written specifically about poetry, wherein they observe and evaluate the effectiveness of the various poetic conventions used and the depth and richness of the meaning. I often have them compare secular (so called) poets with the poetry of hymns written at the same time or in similar circumstances. For example, I include Lutheran pastor Martin Rinkhart’s great lyric, Now Thank We All Our God, written while the Thirty-Years War was raging through Germany, in my course on World War I poets. Rinkhart’s 17^th century hymn was sung August 1, 1914 on the streets of Berlin when the Kaiser announced the mobilization of German troops to invade Belgium. It makes a dramatic counterpoint to the despair and anger of many of the WW I poets.

STUDENT WRITERS PANIC

Here is where I discovered the problem for my students. When I give them a poem of Wordsworth or Cowper or Shakespeare to analyze and evaluate, they know what to do. It looks like and reads like poetry. It is in the format in which the poet originally penned the words; the poetic medium is, in some real measure, the message. Hence, they can observe the basic unit of poetry, the line, with its hard left margins and capitalized first lines (center lining poetry is a Hallmark card reduction of meaning and content to visual form and is unlike the format the poet wrote the poetry in). They can find the parallel ideas, the progression of thought, the figures of speech, the allusions, the meter, the rhyme scheme, the poet’s use of various sound devices, the use of inclusio, and other subtleties of the poetic art. But when I give them a hymn from the Trinity Hymnal (I consider the Trinity to be the very best of American hymnals and use it daily), they are frustrated and confused. When I give them a hymn with the poetry embedded in and subordinated to the musical score, as it appears in almost all American hymnals since the mid-19^th century, they panic.

Poetic form lost to and subsumed in the musical notation

At first I didn’t get this. I grew up singing hymns in church; I read music; I love music. I chalked it up, at first, to the decline of culture, the loss of the ability to read music and sing hymns. But as I traveled to various other countries around the world, I discovered something very interesting. Maybe its American exceptionalism again. Though I’m not so sure. We Americans seem to be the only ones who hand hymnals to our congregations that have the poetry of the hymns in a subordinate role to the music so it does not look like or read like its genre--poetry. Every other country I have visited (UK, New Zealand, Tonga, Europe, Japan, Peru, etc.) the hymnals have the lyric of the poetry visible as poetry, in lines and stanzas the way the poet wrote it. I have  talked to missionaries and Christians from other countries I had not visited. I discovered that we Americans are pretty much the only ones that do this.

REVIVALISM TORPEDOES CONTENT

So I did some more research. As near as I can find, we began doing this as a direct result of the shift in priorities in 19^th century revivalism. We began replacing many of the Psalm versifications from the Reformation, and many of the classic hymns with revival songs that in general were sentimental, repetitive, lacking in theological depth, and addressed largely to the sinner rather than as expressions of worship and adoration to God. This reduction of the content and the quality of lyric went hand in

Father of English Hymnody

hand with the crafting of new music, designed to attract the lost into the camp meeting tent. The new popular musical sound (the worst of it somewhere between merry-go-round ditty, the frontier cowboy song, and barbershop quartet sound) became more important because it was the hook to draw in the lost. Music was no longer accompaniment as an aid in taking the meaning of the poetry on the lips and in the heart and mind.

In Protestant Christian worship, music has always been in a subordinate role, supporting and aiding the worshiper in taking to heart and mind the meaning and richness of the poetic lyric. Though Calvin knew and appreciated the incredible power of music to move hearts, he cautioned against getting music and the objective meaning of the words flipped around, "We must beware lest our ears be more intent on the music than our minds on the spiritual meaning of the words.” But in Revivalism that’s precisely what happened, the words became less important. The new format of the hymnal reflects this shifting priority of revivalism. Charles Finney’s New Measures and Pelagian theology, flipped things around. The new format of the American hymnal, reducing the central importance of the poetry, was born. I would argue that this format does exactly what Calvin cautioned us against, our eye and ear “more intent on the music” (that’s the first thing we see in Revivalism-influenced hymnal format, musical score not poetic lines) “than our minds on the spiritual meaning of the words.”

Ask English students to write a timed essay under exam conditions about hymn poetry or offer them hymn poetry in its original poetic format, poetry stripped and dissected to fit the musical format, and they will choose every time to have it in poetic form. Imagine doing this with a prose paragraph, each line cut away from the next, with musical notation inserted and separating the flow of idea; the result would be confusion not comprehension, and the paragraph's meaning would be difficult to impossible to understand.


But some might object and say that when we are singing in church we are not writing an essay; they are two entirely different activities. Though that is true, both activities require the ones reading and singing the poetry to understand the meaning of what they are reading and singing. Christians rightly place a high premium on the engagement of the mind and of the imagination in worship. I would argue that singing hymns from a hymnal inadvertently formatted to make it more difficult to observe the subtleties of the poetry being sung is actually working against its own purpose.

RESCUE THE HYMNAL FROM REVIVALISM

Maybe it’s time to take on a remaining reductionist influence of Revivalism on our hymnal and thus on our worship. Why not consider a cross page format, the poetry in lines and stanzas on the left and facing the poetry the musical score with poetry embedded? For shorter hymns the poetry could appear on the top of the page and the musical score at the bottom. To reduce the obvious increase in

Format the hymnal to reflect the priority of lyric

page numbers, more hymns that are not used could be retired. I realize the difficulties and potential added expense, but I don’t think any of us believe that cost should keep us from confronting an obstacle to the engagement of mind and heart in our sung worship as significant as this one is.

In this proposed format reconfiguration (not a new configuration, but a return to one that is consistent with how Reformed Christians have sung in worship since the Reformation itself—poetry and meaning first, music second) it will send a clear message to the worshiper that the meaning of the words, taken on the lips, in the heart, and understood in the mind, is of first importance in our worship. I guarantee that the majority of worshipers (especially our young children) will sing from the poetry (some studies indicate that only about 25-30% read music when singing in church anyway). They certainly will pray and meditate from the hymnal from the poetry where the progression of thought and rich poetic conventions are uninterrupted by the musical notation. I conclude with Calvin’s caution: "We must beware lest our ears be more intent on the music than our minds on the spiritual meaning of the words.” I urge publishers of hymnals to consider rescuing hymn poetry from the influence of Revivalism so that our hymnal format reflects biblical priority in sung worship.

Douglas Bond is author of a number of books for young people and adults, including his Mr Pipes series on Hymn writers, Augustus Toplady (EP, 2012), and The Poetic Wonder of Isaac Watts (RT, 2013). As a hymn writer, Bond collaborates with several composers, including Greg Wilbur; watch for the forthcoming New Reformation Hymns/Parish Psalms album, coming in 2017. Learn more at www.newreformationhymns.webs.com.

GOD'S SERVANT JOB "is great at the theological, aesthetic, and audience level"

[Unsolicited review by Emmanuel Boston]
Douglas Bond and Todd Shaffer collaborate to present you and the young ones in your life with “A Poem with a Promise”: God's Servant Job. Bond reworks the Ancient Near East verse into a readable, bouncing poem for children of all ages. The meter is easy and true—except for a few notable breaks when sinful dialogue is prominent, ultimately leading to better poetry and influence. Bond follows remarkably well to the text we’d find in modern translations, putting new words to ancient ideas that had me thinking: I’ve heard this before! And of course, what else would we want from a book that attempts bring Scripture to the hearts of little ones? Bond is sure to add a poetic exposition of what he believes to be the central thrust of the book of Job: “I know that my Redeemer lives!” and to relate it to the fulfillment of this truth in Jesus. He also includes a “Big Words,” “Quiz,” and “Let’s Think!” section which will aid parents and Sunday school teachers in discipleship, or even the self-motivated learner. (There are several ‘chapter’ divisions as well.)

Shaffer contributes excellent artwork to partner along the text. If you look at the cover picture, you will get a grasp of the overall style: angular, an almost ‘sketched’ look which seems to remind us of the temporal gap between this world and theirs. The color palette ranges, though, finding appropriate hues to show us the spectrum of the story: from bright heaven, to Satan’s technicolor; from dusty potsherds to the vast mysteries of God’s creation—the mood fits.

All in all, this book is great at the theological, aesthetic, and audience level. I do have a few recommendations for the author, and one disagreement.

First, the least controversial: I think the Big Words section could have included a few more (e.g. covenant, cornerstone, Redeemer).

Second: just preferentially, I would have liked to see an extra stanza devoted to Christ as the fulfillment of the Job typology.

Third: I do not believe that Elihu was condemned in concert with the three other friends of Job. Scripture itself is silent on this matter, but the author says, “My servant Job has seen the light, / But you, his friends, go nothing right.” The illustration likewise includes Elihu amidst the others. The author seems to recover from this when in the “Let’s Think!” section he highlights a parallel between Elihu’s words, Job’s words, and the message of the book. [*Author note: We discussed this in editorial and production stages of this book. There were supposed to only be three 'friends' in the

illustration for this page, thus making clear that Elihu was not condemned by God along with the others. The poetry itself in the section when Elihu is speaking makes this very clear]

Those recommendations notwithstanding, this is an excellent addition to any children’s library; even an adult’s. It accurately retells the story found in Job including some of its most famous lines, with simple, up to date poetry, showing forth the message of our Redeemer and the hope his children have of righteousness, justification, and forgiven sins. It’s easy to talk to adults, and oh so difficult to communicate the same things to children, but Bond and Shaffer have done just that.

Visit www.bondbooks.net for special Christmas book deals, including GOD'S SERVANT JOB

Introducing New Website: HYMNS FOR THE NEW REFORMATION

Christina Rossetti

As I neared the end of writing the four-book Mr. Pipes series a few years ago, I decided it was high time I practiced what I was 'preaching' about hymns and hymn writers, and hymn WRITING. Writing that first hymn (The Lord, Great Sovereign, which I had Drew anguish away at writing in the Accidental Voyage), was one of the most challenging things I have ever attempted to write.

Since then I have been developing curriculum for teaching hymn writing to my students and readers--and continuing to write my own hymns. Dr. Paul S. Jones from 10th Presbyterian, Philadelphia, and Ron Bechtel have written several wonderful tunes specifically for a number of my hymn poetry, and several of my students have added some too.

www.newreformationhymns.webs.com is the collection place for those hymns, for the music (audio and sheet music), as well as articles on hymns and worship, pre-release readings from my forthcoming book with Reformation Trust (Ligonier), THE DOXOLOGICAL GENIUS OF ISAAC WATTS, and other hopefully useful resources for pastors and church leaders, musicians and poets. I invite you to peruse the site, become a member by clicking on 'register,' and share it with others who care about worship and singing praises to Christ our King and Redeemer.

MODERN REFORMATION article in March/April 2010-hot-off-the-press

THE DEVIL HATES GOOSE QUILLS

And Why it Matters to the Church, by Douglas Bond

POST-POETRY CULTURE

Martin Luther, who said “The Devil hates goose quills,” insisted that in a reformation, “We need poets.” Most of us scratch our heads and wonder what on earth we need them for.

Our postmodern, post-Christian, post-Biblical culture has almost totally dismissed what used to be called poetry. Few deny it; ours is a post-poetry culture. But who cares? 

“Poetry is a marginal art form,” wrote poet Campbell McGrath, “in a culture that values neither literacy nor artistic expression in any vital way. America does not persecute poets, it does not seek to smash them like bugs—it just doesn’t care a lot.”

Martin Luther cared deeply about poetry, in the most vital way. But do most Christians today? Most accept the decline of poetry without a whimper, with barely a wafture of good riddance.  But does it matter?

Paul Johnson, decrying the decline in literacy, argues that students should “produce competent verse in a wide variety of strict meters, under examination conditions.”

To what purpose should they be subjected to such literary tortures? After all, what good is it? Won’t the machinations of society carry on just fine without poetry? Won’t the church do just fine without it? It’s not like poetry contributes anything vital. You can’t eat it.  

So thought Hanoverian King George II. “I hate all boets!” he declared. If you’ve ever been flummoxed at lines you were told were poetry, ones about wheelbarrows and chickens, you may agree with George’s abhorrence of poets.

But are Christians to stand deferentially aside as culture pitches poetry—the highest form—into the lowest circle of hell? 

WHAT HAPPENED TO POETRY? 

I’ve been accused of the pedagogical unpardonable sin of depriving my writing students of what has become poetry’s sole consideration: individual self-expression. “Why don’t you let them write in free verse?” I’m asked. “I do,” I reply. “We just call it brainstorming.”

Arguably vers libre achieved its foothold with Walt Whitman, a man with new ideas simmering in his bosom, new ideas that demanded a new form. “Through me forbidden voices, voices of sexes and lust, voices veiled, and I removed the veil.” The Devil, no doubt, rubs his hands in glee at Whitman’s goose quill.

Whitman-like free verse dictates against any conventional structure of meter or rhyme. This throw-off-the-shackles impulse creates a blurring of literary genre wherein poetic form is abandoned in favor of irregular bursts of feeling. What often remains is fragmented prose. “Poetry” thus conceived provides a pseudo-form for saying private things about one’s self, things one would never utter in direct speech—until Whitman removed the veil.

Such redefining of what poetry is has led to a proliferation of what one classics professor termed, “therapeutic soul-baring by emotional exhibitionist[s].” Or as John Stott quipped, “The trouble with you Americans is you’re constantly engaged in a spiritual strip-tease.” . . .

Covenant High School Students Sweep Writing Contest

The regional writing contest, Our Own Words, sponsored by the Pierce County Arts Commission, the Pierce County Library Foundation, and The Morning News Tribune was an overwhelming success for my writing students. "The Devil hates goose quills," wrote Martin Luther. I am so delighted that these students, and many others who wrote fine poetry and fiction prose, are developing skills that the devil hates. Praise be to God!

The 816 contestants were competing for only twelve high school prizes in this contest, five of which were won by Covenant High School students:

First Place ($100) in 9-10 grade fiction writing: Joel Kim (10)
First Place ($100) in 11-12 grade poetry writing: Nate Sheldon (11)
First Place ($100) in 11-12 grade fiction writing: Tommy Slack (12)
Second Place ($75) in 11-12 grade fiction writing: Nate Sheldon (11)
Third Place ($50) in 11-12 grade fiction writing: Will Firch (12)

In a contest with over 800 entries, this year's contest marks several firsts for CHS and my students over the last thirteen years.

First time we've had all young men winners.
First time to win first in both poetry and fiction categories.
First time to have five winning entries.
First time to sweep (1st, 2nd, and 3rd) an entire category.
First time to have a single winner in both fiction and poetry in the same year.

Students writers will be honored May 27, 2009 at an event hosted by Pacific Lutheran University, where the students will read their work, be presented with a book of the winning entries, and receive their monetary prizes. Congratulations to all of you!

Lectures at Heritage Home Educators Conference

April 23-25, 2009, I had the delightful privilege of exhibiting and speaking at the Christian Heritage Washington State Family Discipleship and Homeschooling Conference in Redmond, Washington. An overwhelmingly record-breaking crowd (over 2,100) turned out for the fourth annual conference.

The conference is organized (and I mean organized!) by the delightful Bradrick family, the Christian Heritage Board of Directors, and an attentive entourage of cheerful volunteers. I was privileged to be at the receiving end of the attentions of the Hamilton family, who hauled loads of books and posters, set up the exhibit, escorted me to the different halls I was to speak in, ran errands, brought me lunch, and made me London Fog Lattes! I came away spoiled rotten! Seriously, it was one of the most Christ-like run conferences I have attended or participated in.

I delivered three addresses. The first, Teaching Truth With Fiction, to a large group (Scott Hamilton told me they had to turn 100 people away because the room could not hold anymore), where I concluded by reading an episode from Hostage Lands; the second, Heroes: Inspiring Servant Greatness in the Next Generation, where I read the story of my hero, WW II, P-47 flyer, John Hemminger, and War on Terror hero, David Uthlaut, from HOLD FAST In a Broken World; and the last an address entitled, Why Teach Poetry in a Post-Poetry World? wherein I emphasized that the Psalms are the model by which all poetry must be measured, and the enriching benefits of incorporating the study of hymns and hymn writing into instruction.

One of my favorite things as an author is to meet readers, answer questions, and sign books. Our booth was super well positioned to connect with lots of readers and get acquainted. Thanks to the good folks who put the conference together with such excellence and who invited me to participate as a speaker! Watch for audio exerpts from the conference, to be posted soon.