A new hymn

Yesterday I attended services at the congregation I frequent (I also do several services a year for them), and we had a couple discuss the "Life of a Peacemaker." It was an interesting message, although frankly not as deep or informational as I could have wished. Still, I can't fault it for what I expected it to be. 

But what I want to talk about is a song. The service's second hymn was John Lennon's "Imagine." The lyrics were printed out and passed around with our hymnals. I've discussed in the past my firm belief that, as churches and services grow and change, one of the likeliest changes will be the co-opting of seminal, probably secular songs into our hymnals to take the place of songs that either don't connect with our theology (we already see this with the dropping from many denominations of such aggressive, warlike songs as "Onward, Christian Soldiers") or that have greater resonance with our congregations (in my own UU faith, we see this in the inclusion of the song popularized by Cat Stevens, "Morning Has Broken"). I suspect "Imagine" could be the bridge between every faith by its inclusion as a hymn.

If this is the case, it'll be helped along by its simple tune and rhyme scheme, its ubiquity in mass culture, and the simple fact that, as I looked around, I noticed that nearly everyone my age was singing from beginning to end without looking at the lyrics. We have already taken it in as our own.

imagine

I seem sometimes to know a lot of dead people. I suppose it's a result of knowing a lot of people. But this dead person wasn't, herself, a friend but the daughter of a friend. I attended her memorial, the way I think many people do, not from a sense of obligation to the deceased but out of love for the living.

I have, at best, a complicated relationship with suicide. I don't understand the overwhelming hopelessness I presume it results from. Overwhelming hopelessness, this I understand, but my own experience of it suggests that ending life only guarantees things never get better, and as depressed as I get, I never completely forget that everything, even hopelessness, changes.

But it isn't about my experience. It's the experience of someone for whom only the unknown brings some comfort, and who may ultimately be braver than the rest of us. There are experiences of life, I'm certain, that only ending it can soothe. And while we struggle to figure out what to make of such decisions, we are most honest when we admit we never will.

On my drive further out of the rim for the service I heard John Lennon singing "Imagine" which itself always fills me like a good hymn. The service was full of people I know but hadn't seen for long whiles and the family whose hurt I'd come to share. We spoke and hugged and chanted. But mostly we sang.

It was in that I felt most connected. I have a rough, uneven voice that is unpleasant to hear, I know, but I love nonetheless to sing and sing loud with others. The songs were deeply steeped in the generation most of us were a part of, some Lennon/McCartney, some Dylan, the almost obligatory soulful "I'll Fly Away."

And then one I didn't expect but fit the tenor and the mood of yearning to receive and give comfort: "Hallelujah." With his nicotine and whiskey rasp Leonard Cohen is the songwriter for the funerals of junkies and suicides, and I surprised myself by the lyrics I'd memorized by listening intently even when I didn't realize I had been. The mournful strains we attempt at hitting the right notes on the chorus, and the inability of most of us to do so, is as good a simile for our lives as any.

I keep coming back to my drive there when, in the snowsquall that had started and turning down the radio that was still playing "Imagine," I pulled over to a car stopped on the side of the road to ask if everything was all right. Everything was and in the world I imagine we take time and effort to ask that question, especially when we know the answer will not be "yes."

johnny thunders died for your sins!

"there is, too, a connection between the era bret easton ellis attempts to satirize in [1991's american psycho], the greed-is-good '80s, and the time of [john] lennon's murder, one month after the election of ronald reagan, the man who would make that era possible. in lennon's rolling stone obituary, greil marcus was the first person to note that 'nothing like lennon's killing has happened before.' while marcus was careful to say that reagan's election did not inspire mark david chapman--any more than [j.d.] salinger did--he did note the confluence of chapman's actiions with the 'secret message' of reagan's election: 'some people belong in this country, and some people don't; that some people are worthy, and some are worthless; that certain opinions are sanctified, and some are evil.' he went on, 'such a message, which tells people they are innocent and others are to blame, can attach a private madness to its public justification.'

"in 1980 john lennon was far from the canonized figure he has become. the people who grew up with the beatles had not yet moved into controlling positions in the media. in his time cover story, jay cocks was talking about himself and his contemporaries when he wrote that some people 'wondered what all the fuss was about and could not quite understand why some of the junior staff at the office would suddenly break into tears in the middle of the day.' it's easy to dismiss cock's piece for its openness of feeling. for all the things that cocks had to do, and did exquisitely, in that piece--it was a news story, an obituary, a career restrospective--what still comes through strongest is shellshock, his disbelief that he is writing the story. which is why it was a risk, and essential, for him to insist that the shooting was an assassination. putting lennon's killing in the company of the killings that had preceded it in the previous decades is not, though, a contradiction of marcus's claim that this had never happened before. it had--but not to a popular artist. what both cocks and marcus understood was that lennon's murder was a symbolic murder of what he represented. chapman was disturbed by the denunciations that ended [lennon's song] 'god,' lennon's brutal elaboration of [bob] dylan's line 'don't follow leaders.' but the beatles, for all the adoration they inspired, stood for a vision in which people, as marcus wrote, did not lose their identity but found it.

"a vision that tells you it's possible to live a good life and to live it your own way holds out possibilities that other visions--reagan's or salinger's--deny. those visions judge who belongs and who doesn't, who shuns contact with the wrong kind of people, chooses to withdraw from or tries to control the world rather than embrace it."

--from "the ballad of john and j.d." by charles taylor in the february 14, 2011, issue of the nation