May Nothing Evil Cross This Door—Murfin Home Confinement Music Festival 2020

May Nothing Evil Cross This Door.

This Sunday we are turning to the song that is #1 in the Unitarian Universalist Association’s hymnal Singing the Living Tradition—May Nothing Evil Cross This Door.  It earns its place in the section of Celebrations of Life because it is used in the dedications of new church buildings or sanctuaries and is commonly sung on the first Sunday of the church year sometime around Labor Day for most congregations and often called homecoming.  

May Nothing Evil Cross This Door is the first hymn in the UUA's Singing the Living Tradition first published in 1003.

But in the Coronavirus pandemic when our church buildings are shuttered and congregations meeting remotely by Zoom, live streaming on web pages and social media, or posted to YouTube the song has taken a new significance and the door itself virtual and the people, not the building are the church.  At least one congregation, the Community Church of Chapel Hill, Unitarian Universalist, assembled their virtual choir for their first remote worship service on April 5.  There were probably others.

Many of us hunkering down in our own homes hold it in our hearts as the new plague stalk our communities.

The music for the hymn was written in 1903 by Robert N. Quaile, born in 1867 the son of a Methodist preacher who was a businessman in Mallow, Ireland and was published with different lyrics in 1906 in The English Hymnal.

Although the simple melody is lovely, it is the words set to it that are most memorable.

Louis Untermeyer. poet, critic, editor, and anthologist.

Louis Untermeyer was born in 1885 in New York City the son of German-Jewish jewelry manufacturer.  He dutifully joined his father’s business but was self-educated by veracious reading.  He published the first of 21 volumes of his own poetry in 1911.  Achieving widening attention he quit the family business in 1923 to pursue a full time literary career.  He is best remembered as the collector and editor of several popular poetry anthologies including multiple regularly updated versions of Modern American Poetry and Modern British Poetry as well as The Golden Book of Poems for the Very Young.

Like many of his literary contemporizes Untermeyer was a supporter of radical and socialist causes from his young manhood through the Depression and World War II years.  He wrote for magazines such as The Masses, through which he advocated that the United States stay out of World War I, which was suppressed by the government, The Liberator which was published by the Workers Party of America, and the independent socialist.  The New Masses. On May 1, 1935, Untermeyer joined the League of American Writers whose members included Lillian Hellman, Dashiell Hammett, I.F. Stone, and Arthur Miller whose members were mostly either Communist Party members or so-called fellow travelers.  Untermeyer himself was never a member of the C.P.

In 1916 he was co-founder of The Seven Arts, a poetry magazine that introduced many new poets, including Robert Frost, who became Untermeyer’s long-term friend, correspondent, and the subject of his popular biography.

Untermeyer and Arlene Francis as celebrity panelists on What's My Line in 1950.

Witty and urbane, Untermeyer was a celebrity panelist on the first season of TV’s What’s My Line game show.  But his radical past caught up with him.  He was named during the hearings by the House Committee on Un-American Activities and the Catholic War Veterans and other right-wing organizations began hounding and harassing him.  Although the show’s producers, Goodson-Todman, initially stood by him, the sponsor, Stopette Deodorant, unceremoniously fired him and replaced him with a much safer literary figure, Bennett Cerf the publisher of Random House Books.

Untermeyer was heartbroken and nearly crushed by the ordeal refusing to leave his apartment or to even speak to old friends like Arthur Miller for a year.  More than a decade later he received a public rehabilitation when he was named Consultant in Poetry to the Library of Congress—Poet Laureaate—in 1961 with the strong support of Robert Frost and President John F. Kennedy.

A glass mezuzah shows the prayer scroll inside.

It is tempting to read the words of May Nothing Evil Cross the Door and conclude that it was a response to his Red Scare persecution, but the poem was included in his 1923 collection Roast Leviathan.  Untermeyer, a secular Jew, was inspired by the mezuzah affixed to the doorpost of Jewish homes containing the Jewish prayer Shema Yisrael to ward off evil.

The Old Rugged Cross—Murfin Home Confinement Music Festival 2020

The Old Rugged Cross sung by Johnny Cash and June Carter.

Good Friday is such a sad day for Christians that it is hard to be chipper especially when believers, do not even have the consolation of coming together for worship these days.  And it makes it hard to pick out an appropriate song for the Home Confinement Music Festival.  Then I remember millions of American Protestants have long taken comfort in the Hymn The Old Rugged Cross.

George Bennard, writer and composer of The Old Rugged Cross.

It was written in 1912 by  evangelist and song-leader George Bennard, 1873–1958, who was saved as a young man by the Salvation Army who became a Methodist camp meeting revivalist.  It was popularized when two of evangelist Billy Sunday’s musicians, Homer Rodeheaver, who bought the publishing rights to the song for a reported $50 or $500 and Virginia Asher.  Together as a duo they were the  record it in 1921.  It circulated as a revival campaign staple for decades and the sheet music  sold briskly for both church accompanists  and home parlor pianists especially in the South.

Music for The Old Rugged Cross.

But did not become more widely known until Ernest Tubb's 1953 album, The Old Rugged Cross.  After that it became a staple of the burgeoning sub-genre of country gospel music.  Many of country music’s biggest stars recorded it on the gospel albums including Al Green, Andy Griffith, Anne Murray, Brad Paisley, Chet Atkins, George Jones, Eddy Arnold, Jim Reeves, Merle Haggard, Patsy Cline, Loretta Lynn, Ray Price, Tennessee Ernie Ford, , Roy Rogers and Dale Evans, The Oak Ridge Boys, The Statler Brothers, Vince Gill, Willie Nelson, Alan Jackson, George Beverly Shea, and John Prine.  That’s a whole wing of the Country Music Hall of Fame right there.

The cover for a re-mastered version of Ernest Tubb's recording.

As a boy growing up in Cheyenne, Wyoming in the 1950’s the song was inescapable at Easter time.  Mom played her favorite,  Tennessee Ernie Ford, over and over at our house.

Black gospel singers including Mahalia Jackson and the Rev. Al Green also recorded it as did folk/rock superstar Bob Dylan.  The new genre of Christian Rock is all over it as well bringing it to the new Evangelical Mega Churches.

Johnny Cash Sings Precious Memories, 1975,

Today we will enjoy a live performance by Johnny Cash and June Carter before thousands in a sports arena.  The song was included on Cash’s 1975 album Johnny Cash Sings Precious Memories

How Can I Keep from Singing?—Murfin Home Confinement Music Festival 2020

How Can I Keep from Singing sung by Enya.

It’s Sunday—Palm Sunday no less—and the perfect day for one of my favorite, uplifting, and inspiring hymns—How Can I Keep from Singing? also known as My Life Flows On in Endless Song. The simple but lovely song is often mistaken for an uncredited, usually Quaker, traditional hymn.  The original lyrics were published  in The New York Observer under the Title Always Rejoicing  and attributed to a Pauline T. Baptist minister Robert Wadsworth Lowry included in the 1869 song book, Bright Jewels for the Sunday School and claimed authorship of the music.  

American Baptist minister Robert Wadsworth Lowry wrote the music to How Can I Keep From Singing? and included it in an 1868 song book.

The song was largely forgotten through much of the 20th Century and was included only in the 1941 edition of The Church Hymnal of the Seventh-day Adventist Church, and titled My Life Flows On.

Around  1950 Doris Plenn reported that she had learned the original hymn from her grandmother, who mistakenly believed that it dated from the early days of the Quaker movement. Plenn wrote a new version that eliminated some of the explicitly Christian references in the original and added this new verse:

            When tyrants tremble, sick with fear,

And hear their death-knell ringing,

When friends rejoice both far and near,

How can I keep from singing?

In prison cell and dungeon vile,

Our thoughts to them go winging;

When friends by shame are undefiled,

How can I keep from singing?

Pete Seeger popularized Doris Penn's pacifist revision of How Can I Keep From Singing?

These lyrics were popularized by Pete Seeger during the folk revival of the late 1950’s and early ’60.  In this form it became popular in mainstream and liberal Protestant congregations.  In the late 1970s, How Can I Keep From Singing was recorded closely following the original lyric by Catholic folk musician Ed Gutfreund on the album From An Indirect Love  and then was published in the widely used Catholic Hymnal Glory and Praise.  It was especially popular in guitar masses.

The Plenn/Seeger version has been particularly embrace by the Society of Friends and other Peace churches and by the Unitarian Universalist Association (UUA) and was included in the 1993 hymnal Singing the Living Tradition.

Irish New Age singer Enya brought  How Can I Keep From Singing? to new audiences.

The song received new prominence in 1991 when the ethereal Irish singer Enya, a New Age  music favorite released it her album Shepherd Moons following Seeger’s version including  changing the original lines “What tho’ my joys and comforts die? The Lord my Saviour liveth” to “What tho’ the tempest ‘round me roars, I hear the truth it liveth.”  Her video of the song included clips from then contemporary events like the Gulf War and the fall of the Soviet Union.

It was also performed by Celtic Woman in their Destiny show live from the Round Room at the Mansion House in Dublin.

Sherman Alexie Ponders Love and Poses Moral Quandary

Sherman Alexie.

When I saw Sherman Alexie’s new poem Hymn last August, I flagged it for inclusion in the National Poetry Month post.  Just last year I profiled the prolific and versatile Native American writer and his insightful and challenging poem Hey, Look, the Abyss! reflecting on a visit to Dachau by the survivor of the slow genocide of America’s indigenous peoples.  The new work seemed just as sharply on point.

It should have been a no brainer.  Alexi was on a roll.  A critically acclaimed poet since the publication of his first collection, The Business of Fancy Dancing in his mid-twenties he went on to publish nine more books of poetry, several popular young adult novels, and his stories of coming into adulthood on the reservation, The Lone Ranger and Tonto Fistfight in Heaven and its sequel.  He shepherded that book to the big screen  in 1997 as Smoke Signals, the first major American film written, directed, and staring Native Americans.  His 2007 novel The Absolutely True Diary of a Part-Time Indian won a National Book Award for Young People’s Literature and has become a favorite, if controversial, part of many high school reading lists.  

Alexie's 2017 memoir was garnering wide praise and reaping new honors when everything fell appart for it's author.

Long a favorite on the reading circuit, last year Alexie began an extensive tour for his new memoirs of his difficult relationship with his gifted but flawed  mother and growing up on and off the reservation, You Don't Have to Say You Love Me.  The tour for the widely acclaimed book was so emotionally exhausting that he abruptly canceled several appearances and when he resumed the tour did informal talks and interviews instead of readings.   

But it all fell apart last February.  Alexie’s Wikipedia bio summarizes what happened:

On February 28, 2018, Alexie published a statement regarding accusations of sexual harassment against him by several women, including author Litsa Dremousis with whom he’d had a consensual affair in the past and who claimed numerous women had spoken to her about Alexie’s behavior. Ms. Dremousis' response initially appeared on her Facebook page and was subsequently reprinted in The Stranger for March 1, 2018. The fallout from these accusations includes the Institute of American Indian Arts renaming its Sherman Alexie Scholarship as the MFA Alumni Scholarship. The blog Native Americans in Children’s Literature has deleted or modified all references to Alexie. In February 2018 it was reported that the American Library Association, which had just awarded Alexie its Carnegie Medal for You Don’t Have to Say You Love Me: A Memoir, was reconsidering, and in March it was confirmed that Alexie had declined the award and was postponing the publication of a paperback version of the memoir.  The American Indian Library Association rescinded its 2008 Best Young Adult Book Award from Mr. Alexie for The Absolute True Diary of a Part Time Indian sending the message that his actions are unacceptable.

Just like that in the wake of the #MeetToo movement, the shining star of Native American literature became a non-person.

Seatle writer Litsa Dremousis, a former consentual lover and freind, confronted Alexie about past sexual behavior or abuse of multiple un-named women and was named by Alexie in his statement.  This photo accompanied her response pulished in The Stranger.

For the record, here is Alexie’s original statement.  He has said little since then and has been largely in seclusion.   I know there are some who will object to my printing the statement.

Over the years, I have done things that have harmed other people, including those I love most deeply.  To those whom I have hurt, I genuinely apologize. I am so sorry.

I reject the accusations, insinuations, and outright falsehoods made by Litsa Dremousis, who has led charges against me. Ms. Dremousis has portrayed herself as simply being a “friend” of mine. She has withheld from the public the fact that she and I had previously been consenting sexual partners.

Our sexual relationship ended in 2015. But Ms. Dremousis has attended most of my public events in Seattle since then.  Without my knowledge or permission, Ms. Dremousis delivered food to my house after I cancelled my 2017 book tour due to emotional trauma.

On October 18, 2017, Ms. Dremousis sent my wife an email in which she informed her of our past sexual relationship, noting that all of our interactions had been consensual. Two weeks later, Ms. Dremousis posted something on my wife’s Facebook page that frightened my wife. Since then, Ms. Dremousis has continually tweeted and spoken in public about my behavior, making accusations based on rumors and hearsay and quoting anonymous sources.

There are women telling the truth about my behavior and I have no recollection of physically or verbally threatening anybody or their careers. That would be completely out of character. I have made poor decisions and I am working hard to become a healthier man who makes healthier decisions.

Again, I apologize to the people I have hurt. I am genuinely sorry.

—Sherman  Alexie

I have no way to confirm the truth of Alexie’s statement, or the details of Ms. Dremousis’s allegations concerning un-named women.  Alexie acknowledges inappropriate behavior even if he quibbles with the most serious allegations.  The #MeToo movement has taught us to trust the testimony of women who were often previously reflexively dismissed. No one says the Alexie must not personally bear the painful consequences of his misbehavior.

But are we required to expunge a once treasured body of work with deep insight into the Native American experience?  If that is the standard, literary canon is must be drastically diminished.  Writers and poets aren’t saints or role models.  In fact, like many creative people, they are apt every human foible and failing and often have more opportunities and temptations for misbehavior than others.  Not only have they committed every possible sexual transgression and perversion, they have often been physically abusive to mates, have committed every conceivable crime up to and including murder, and have held repulsive views like T.S. Eliot’s anti-Semitism or even abetted Fascism on a grand scale like Ezra Pound.  Robert Burns, featured in a post just yesterday, was said to have “strewn Scotland with his bastards.”  More modern writers including e.e. cummings and Jack Kerouac mistreated, abused, and betrayed women in their lives. 

Nor have women scribes been immune.  Collette took her husband’s teenage son as a lover in her 50’s, some abused or neglected their own children, and in a couple of notorious European cases aggressively tormented lovers to suicide.

But as offensive as some of these writers were, we continue to read and even enjoy them.  Perhaps that makes us accomplices after the fact to their crimes and abuse.

But I have re-read Alexei’s new poem, and I still find it moving and insightful.  Worthy of capping a month of poems by diverse voices.  I am sure some will disagree and accuse me of being an active accomplice to misogyny.  You be the judge.

Hymn

Why do we measure people’s capacity
To love by how well they love their progeny?

That kind of love is easy. Encoded.
Any lion can be devoted

To its cubs. Any insect, be it prey
Or predator, worships its own DNA.

Like the wolf, elephant, bear, and bees,
We humans are programmed to love what we conceive.

That’s why it’s so shocking when a neighbor
Drives his car into a pond and slaughter–

Drowns his children. And that’s why we curse
The mother who leaves her kids—her hearth—

And never returns. That kind of betrayal
Rattles our souls. That shit is biblical.

So, yes, we should grieve an ocean
When we encounter a caretaker so broken.

But I’m not going to send you a card
For being a decent parent. It ain’t that hard

To love somebody who resembles you.
If you want an ode then join the endless queue

Of people who are good to their next of kin—
Who somehow love people with the same chin

And skin and religion and accent and eyes.
So you love your sibling? Big fucking surprise.

But how much do you love the strange and stranger?
Hey, Caveman, do you see only danger

When you peer into the night? Are you afraid
Of the country that exists outside of your cave?

Hey, Caveman, when are you going to evolve?
Are you still baffled by the way the earth revolves

Around the sun and not the other way around?
Are you terrified by the ever-shifting ground?

Hey, Trump, I know you weren’t loved enough
By your sandpaper father, who roughed and roughed

And roughed the world. I have some empathy
For the boy you were. But, damn, your incivility,

Your volcanic hostility, your lists
Of enemies, your moral apocalypse—

All of it makes you dumb and dangerous.
You are the Antichrist we need to antitrust.

Or maybe you’re only a minor league
Dictator—temporary, small, and weak.

You’ve wounded our country. It might heal.
And yet, I think of what you've revealed

About the millions and millions of people
Who worship beneath your tarnished steeple.

Those folks admire your lack of compassion.
They think it's honest and wonderfully old-fashioned.

They call you traditional and Christian.
LOL! You’ve given them permission

To be callous. They have been rewarded
For being heavily armed and heavily guarded.

You’ve convinced them that their deadly sins
(Envy, wrath, greed) have transformed into wins.

Of course, I’m also fragile and finite and flawed.
I have yet to fully atone for the pain I’ve caused.

I’m an atheist who believes in grace if not in God.
I’m a humanist who thinks that we’re all not

Humane enough. I think of someone who loves me—
A friend I love back—and how he didn’t believe

How much I grieved the death of Prince and his paisley.
My friend doubted that anyone could grieve so deeply

The death of any stranger, especially a star.
“It doesn’t feel real,” he said. If I could play guitar

And sing, I would have turned purple and roared
One hundred Prince songs—every lick and chord—

But I think my friend would have still doubted me.
And now, in the context of this poem, I can see

That my friend’s love was the kind that only burns
In expectation of a fire in return.

He’s no longer my friend. I mourn that loss.
But, in the Trump aftermath, I’ve measured the costs

And benefits of loving those who don’t love
Strangers. After all, I’m often the odd one—

The strangest stranger—in any field or room.
“He was weird” will be carved into my tomb.

But it’s wrong to measure my family and friends
By where their love for me begins or ends.

It’s too easy to keep a domestic score.
This world demands more love than that. More.

So let me ask demanding questions: Will you be
Eyes for the blind? Will you become the feet

For the wounded? Will you protect the poor?
Will you welcome the lost to your shore?

Will you battle the blood-thieves
And rescue the powerless from their teeth?

Who will you be? Who will I become
As we gather in this terrible kingdom?

My friends, I’m not quite sure what I should do.
I’m as angry and afraid and disillusioned as you.

But I do know this: I will resist hate. I will resist.
I will stand and sing my love. I will use my fist

To drum and drum my love. I will write and read poems
That offer the warmth and shelter of any good home.

I will sing for people who might not sing for me.
I will sing for people who are not my family.

I will sing honor songs for the unfamilar and new.
I will visit a different church and pray in a different pew.

I will silently sit and carefully listen to new stories
About other people’s tragedies and glories.

I will not assume my pain and joy are better.
I will not claim my people invented gravity or weather.

And, oh, I know I will still feel my rage and rage and rage
But I won’t act like I’m the only person onstage.

I am one more citizen marching against hatred.
Alone, we are defenseless. Collected, we are sacred.

We will march by the millions. We will tremble and grieve.
We will praise and weep and laugh. We will believe.

We will be courageous with our love. We will risk danger
As we sing and sing and sing to welcome strangers.

—Sherman Alexie