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Posts tagged new jerusalem

Andy:
from "THE GOOD BISHOP WEIGHS IN--TOM WRIGHT ON 'SURPRISED BY HOPE'," by Ben Witherington, 13 March 2009 :: all excess capital letters supplied by Ben Witherington

We are not building the kingdom by our own efforts, no. The Kingdom remains God’s gift, new creation, sheer grace. But, as part of that grace already poured out in Jesus Christ and by the Spirit, we are building for the kingdom. I use the image of the eleventh-century stonemason, probably illiterate, working away on one or two blocks of stone according to the orders given to him. He isn’t building the Cathedral; he is building for the Cathedral. When the master mason/architect gathers up all the small pieces of stone at which people have been working away, he will put them into the great edifice which he’s had in mind all along and which he alone can build—but for which we can and must build in the present time. Note 1 Corinthians 3, the Temple-building picture, and the way it relates directly to 1 Cor 15.58: what you do in the Lord is not in vain, because of the resurrection.

I have absolutely no idea how it might be that a great symphony or painting, or the small act of love and gentleness shown to an elderly patient dying in hospital, or Wilberforce campaigning to end the slave trade, or the sudden generosity which makes a street beggar happy all day—how any or all of those find a place in God’s eventual kingdom. He’s the architect, not me. He has given us instructions on the little bits of stone we are meant to be carving. How he puts them together is his business.

Nate:
from "My Turkish Library," by Orhan Pamuk, The New York Review of Books, 18 December 2008

At the heart of my library is my father’s library. When I was seventeen or eighteen and began to devote most of my time to reading, I devoured the volumes my father kept in our sitting room as well as the ones I found in Istanbul’s bookshops. These were the days when, if I read a book from my father’s library and liked it, I would take it into my room and place it among my own books. My father, who was pleased to see his son reading, was also glad to see some of his books migrating to my library, and whenever he saw one of his old books on my bookshelf, he would tease me by saying, “Aha, I see this volume has been promoted to the upper echelons!”

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business card holder, found by Kyle in Seattle, published as FOUND Magazine's Find of the Day, 30 October 2008 :: via FFFFOUND! (no relation)
Nate:
Nate:
from Gilead, by Marilynne Robinson, 2004

I feel sometimes as if I were a child who opens its eyes on the world once and sees amazing things it will never know any names for and then has to close its eyes again. I know this is all mere apparition compared to what awaits us, but it is only lovelier for that. There is a human beauty to it. And I can’t believe that, when we have all been changed and put on incorruptibility, we will forget our fantastic condition of mortality and impermanence, the great bright dream of procreating and perishing that meant the whole world to us. In eternity this world will be Troy, I believe, and all that has passed here will be the epic of the universe, the ballad they sing in the streets. Because I don’t imagine any reality putting this one in the shade entirely, and I think piety forbids me to try.

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"Dream City" (1921), watercolor and oil, by Paul Klee, in a private collection, Turin, Italy :: via more than 95 theses
Nate:

Are we creating and cultivating things that have a chance of furnishing the New Jerusalem? Will the cultural goods we devote our lives to—the food we cook and consume, the music we purchase and practice, the movies we watch and make, the enterprises we earn our paychecks from and invest our wealth in—be identified as the glory and honor of our cultural tradition? Or will they be remembered as mediocrities at best, dead ends at worst? This is not the same as asking whether we are making “Christian” culture. “Christian” cultural artifacts will surely go through the same winnowing and judgment as “non-Christian” artifacts.

Culture Making, p.171

"Red Clay Halo," by Gillian Welch and David Rawlings, from the abum Time (The Revelator), preformed here in a BBC broadcast from St. Luke's in London, 2 August 2004
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The Colbert Report
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