A Rainfall of Questions Collected in the Form of a Poem

From the Publisher

Arne Selbyg

Selbyg reports that “vocation” is surely among the top three words in Intersections’s history and congratulates nine ELCA institutions—Augsburg, Augustana (Rock Island), Concordia (Moorhead), Gustavus Adolphus, Luther, Pacific Lutheran, St. Olaf, Valparaiso, and Wartburg—on receiving roughly two-million-dollar Lilly Endowment grants for the “Programs for the Theological Exploration of Vocation,” while reminding readers that for Lutherans the priesthood of all believers means callings to be accountants, nurses, police officers, and home makers count as fully as callings into ministry.

From the Editor

Tom Christenson

Christenson previews this issue’s papers from the Vocation of a Lutheran College Conference—Curt Thompson on “the Lutheran knot,” Carol Gilbertson on the creative dimensions of language, Bruce Heggen on theological vocabulary in the state university, Susan Poppe on the boundaries of campus freedom, and Sig Royspern’s oracular gems—welcomes Robert Benne’s response to the previous issue as a sign that Intersections is becoming a locus of continuing conversation, and confesses his reluctant consent to appear on the cover.

Do You Teach in a Different Manner at a Lutheran College? Unraveling the Lutheran Knot and Highlighting the Glory in the Theology of the Cross

Curtis L. Thompson

Thompson argues that being Lutheran means having a “knot in the stomach”—a dialectical “Yes and No” tension between law and gospel, two kingdoms, Word and world—and that this knot is held together by Luther’s theology of the cross supplemented by an under-appreciated theology of glory in which God shines through human beings and creation. He then traces how the Lutheran knot shapes his teaching at Thiel College in the Religion department, the first-year team-taught “History of Western Humanities,” the second-year “Science and Our Global Heritage,” and his work as Co-Director of Thiel’s Global Institute, concluding that only such “dialectical doublespeak” leaves him with the “at-once dreaded and delightful dis-ease of the Lutheran knot.”

Honoring the Word: Lutherans and Creative Writing

Carol Gilbertson

Gilbertson argues that “honoring the Word” in Lutheran colleges means cherishing the sacred power of human language as God’s gift across three sites—the chapel talk, the classroom of wonder, and the poem—and illustrates her argument by reading aloud her own poems: “The Refiner’s Fire and Leaping Calves,” “Late June,” “Early June,” “Sweet July,” “Good Friday,” “Pondering These Things,” “The Limbs of Words,” and “Night Rising,” drawing on Darrell Jodock, John Updike, Martha Nussbaum, George Steiner, and T. S. Eliot’s “The Dry Salvages” to claim writing as a Christian vocation that “incarnate[s] the unseen sacred.”

Writing Toward the Night Complete: Teaching and Working at the Public, Secular Institution

Bruce Allen Heggen

Heggen, Lutheran Campus Ministry pastor and adjunct English professor at the University of Delaware, builds on a freshman’s essay closing line—“All in all our night was complete”—to argue that even in the secular public university one can “teach hope” as a critical principle by drawing on Douglas John Hall’s Heideggerian distinction between calculative and meditative thought, the Frankfurt School’s instrumental versus substantialist reason, Luther’s theology of the cross, Parker Palmer’s “obedience to truth,” bell hooks, Lionel Basney, Shelley Shaver, and Donald Sheehan’s Frost Place “principle of compassion.” The classroom and Lutheran campus ministry together can become “communities of memory and hope” that, like the artist student’s Fourth of July, hold together danger, people getting together, explosions, and lots of fun.

The Impropriety of Jesus' Teaching: The Woman at the Well and The Vagina Monologues

Susan M. O'Shaughnessy

O’Shaughnessy Poppe dedicates her message to those who worked to put on Eve Ensler’s The Vagina Monologues against administrative resistance and reads the Samaritan woman at Jacob’s well alongside the testimony of a Bosnian rape survivor whose story Ensler asked to tell, arguing that the “impropriety” of Jesus—his scandalous recognition of those silenced by sexism, racism, war, custom, and the church—is the model for the mission of a college of the church to defend academic freedom and to break the chains of oppression by inflicting discomfort on the proper and pure.

Response to Bishop Olson and President Tipson

Robert Benne

Benne responds to two articles in the Winter 2002 Intersections: former Bishop Stanley Olson’s “The Marks of an ELCA College,” whose narrow reading of the two kingdoms cedes all epistemological claims to secular knowledge, and President Tipson’s engagement with The Future of Religious Colleges, whose “rather unchastened Enlightenment spirit” underestimates how loaded the social sciences and humanities are with their own philosophical and religious assumptions. Drawing on Reinhold Niebuhr, John Milbank, and William Buckley, Benne defends a “critical mass” of pervasively Lutheran colleges and calls on bishops and pastors to take the schools seriously lest they drift from their religious heritage.

Things That Renew Hope

Sig Royspern

No. 8 · Winter 2000

Inspired by Andrew Greeley’s Religion as Poetry, which defines religion as hope-renewing experiences and the stories, symbols, rituals, and images that preserve them, Rauspern offers a list-poem of small renewals of hope: lovers kissing in the street, the first snowfall of each year, compost and spring sprouts and Jewish humor, kids’ summer mischief, a mother nursing her baby on the bus, small jazz ensembles, two old men reconciling without remembering why, an unscheduled gift, the blues, a child taking him by the hand, and a gray-haired man who threw his cellular phone in the river.

How Can We Keep From Singing?

Robert Scholz

No. 7 · Summer 1999

Scholz, professor of music at St. Olaf, responds to Tom Christenson’s “Freedom of a Christian” by walking through his own Nunc dimittis for the St. Olaf Christmas Festival, an Elderhostel choir of singers aged 60 to 95, and the four liberating arts (enablement and change, melioristic, embodying, and critical) as they shape conducting, composition, and music education. He defends the fine arts and folk traditions over “contemporary Christian” soft pop-rock and taped accompaniments, citing Luther’s preface to Georg Rhau’s Symphoniae iucundae and the family of God’s need to interact in song against the virtual community of TV evangelism and the Crystal Cathedrals of the air.

About the Cover and Artist

No. 49 · Spring 2019

Kristen Gilje, a Bellingham, Washington artist who spent nine years as Artist in Residence at Holden Village, recounts the “Tree of Life” she painted for the Holden Village 1999 summer theme and the unexpected interpretation Lapidary Fred offered of Yggdrasol, Prometheus, the Druid Tree Spirit, and the crucifix all at once.

Things That Renew Hope

Sig Royspern

No. 8 · Winter 2000

Inspired by Andrew Greeley’s Religion as Poetry, which defines religion as hope-renewing experiences and the stories, symbols, rituals, and images that preserve them, Rauspern offers a list-poem of small renewals of hope: lovers kissing in the street, the first snowfall of each year, compost and spring sprouts and Jewish humor, kids’ summer mischief, a mother nursing her baby on the bus, small jazz ensembles, two old men reconciling without remembering why, an unscheduled gift, the blues, a child taking him by the hand, and a gray-haired man who threw his cellular phone in the river.

Holy Odors

John P. Trump

No. 14 · Summer 2002

A one-act play by John P. Trump, premiered at Pacific Lutheran University, in which Maggie, a senior studying Reformation history in the library stacks, falls asleep over the Apology of Augsburg and dreams a 16th-century pickled-herring merchant—Herr Leonard Kopp, the man who smuggled Katie von Bora and eight other nuns out of the convent—into existence to argue that her call to archaeology (“digging up old bones”) is as holy as ordained ministry, with Luther’s joke that the church burns incense to insulate priests from the “holy odors” (not holy orders) of everyday life.

In the Beginning of the Reformation Was the Word

George Connell

No. 46 · Fall 2017

Drawing on a Concordia faculty pilgrimage to German Luther sites, Connell appropriates John’s prologue to frame the Reformation as a movement about words — the printed page, the university classroom, the Marburg confession, the Wartburg translation, Bach’s music, and the dining-room conversations of Table Talk — while soberly noting that words can wound as well as heal.

Drunks in a Midnight Choir

Kevin Griffith

No. 15 · Winter 2002

A pantoum-like Christmas-season poem in which red-robed choristers, flasks clinking and hands trembling, mangle the words of carols beneath “the midnight sky, your endless dark coat,” trusting that “it’s the season to forgive what’s vile” and that even wise men praise the humble and make glad.