The London Olympics opened with a pastoral pageant
celebrating Britain in song and dance. The filmmaker Danny Boyle had announced
his plans to turn the stadium into a copy of a rural village, but the stunning
scene was still something of a surprise.
What was no surprise was hearing the notes of “Jerusalem.” The song, with words by the poet William Blake
and music by Sir Hubert Parry, has become an unofficial national anthem in
England, and it’s often heard at sporting events.
However obvious a choice, “Jerusalem” is still
thought-provoking. Although its opening words:
“And did those feet in ancient time/Walk upon England’s mountains green”
fit perfectly with the lush landscape
created in the Olympic Stadium, the next line “And was the holy Lamb of God/On
England’s pleasant pastures seen!” draws attention to a Christian heritage
increasingly forgotten in modern Britain.
The anthem also perfectly illustrated the contrast between
the idealized England of old and its darker side, represented by excesses of
the Industrial Revolution: “And was
Jerusalem builded here/Among these dark Satanic Mills?”
The Canadian painter William Kurelek would have heartily approved of the contrasts between the bright and beautiful and the dark and dismal. With deep conviction and glorious talent, he painted a vision of Canada and the world that embraced both.
The Canadian painter William Kurelek would have heartily approved of the contrasts between the bright and beautiful and the dark and dismal. With deep conviction and glorious talent, he painted a vision of Canada and the world that embraced both.
His paintings of a prairie boy’s life enchanted me with
their luminous depictions of a vast Canadian prairie and childhood innocence. In his book A Northern Nativity, Kurelek sets the
birth of Jesus in a snowed-in chalet, a fisherman’s hut, a garage, a cow barn;
the Holy Family finds refuge in a soup kitchen, a grain barn, and a country
school. The Nativity never seemed nearer.
But there was more to
the genius of William Kurelek. While he was painting these delightful images,
he was painting what one art critic recently called “sermons of wrath for what he
considered an ungodly world.” Grim, even terrifying canvasses showed the evils
of abortion, nuclear war, and environmental destruction.
He painted as Blake wrote, seeing both the pleasant pastures and the modern equivalents of dark Satanic mills.
He painted as Blake wrote, seeing both the pleasant pastures and the modern equivalents of dark Satanic mills.
Kurelek struggled in
his early life with mental illness, finding relief through art, and eventually by
the whole-hearted embrace of faith. His profound Catholic faith eventually
shaped totally his life and work.
Why so much about this painter today? First, because we are
lucky enough to be able to see the largest exhibition of his work ever
presented, and the first retrospective in 25 years for the cost of a ferry
trip. The Art Gallery of GreaterVictoria is showing “William Kurelek: The Messenger” until September 3, and
it’s well worth the trip.
Second, because someone criticized my homily last week for being too short! With an introduction this long, I won’t have that problem today.
Second, because someone criticized my homily last week for being too short! With an introduction this long, I won’t have that problem today.
But most of all because many years ago Kurelek connected
today’s Gospel to real life for me, and I never get tired of telling how he did
it.
He was a parishioner of Corpus Christi Parish in Toronto,
the church I attended when staying with my great aunt, and the church that my
great grandparents had attended many years before. In 1977, the very year he died,
he left it the precious legacy of a mural, about which I have preached many
times.
Intended to surround the actual tabernacle, it is a vibrant
depiction of a lakeside park and beach a few blocks from the church. Parishioners are assembled in a long line, as
the parish priests, vested for Mass, help Jesus to hand them bread from large
baskets.
The faces of the priests were recognizable, even to me. The
miracle of the loaves was not something historic for Kurelek; it was immediate
and real. He believed we are living that miracle.
You can reach the same conclusion in the chapel of St.
Thomas More College in Saskatoon, which I saw just a year or two ago. Kurelek
uses a different scene – the background is the Saskatchewan plain rather than
Lake Ontario, and Basilian teachers rather than parish priests help Jesus to
feed the multitude.
But let's go back to that picture at Corpus Christi parish—a church named, of course, for the Body of Christ, prefigured in the feeding of the 5000. Imagine if Kurelek were at our parish today, and willing to paint our whitewashed walls. It would be you and you and you and me in the painting. Would this not bring home a central truth of today’s Gospel? Jesus still feeds the hungry 2000 years later, still in such abundance that there is never a question of shortage and want.
But let's go back to that picture at Corpus Christi parish—a church named, of course, for the Body of Christ, prefigured in the feeding of the 5000. Imagine if Kurelek were at our parish today, and willing to paint our whitewashed walls. It would be you and you and you and me in the painting. Would this not bring home a central truth of today’s Gospel? Jesus still feeds the hungry 2000 years later, still in such abundance that there is never a question of shortage and want.
But if this miracle is about ordinary human food, there’s
something cruel about it. Because millions remain hungry, millions die for lack
of what their bodies need. They are not fed today by a miraculous
multiplication of loaves and fish. The Christian answer to that, which has to do
with our willingness to share what we have, is something for another homily.
Today, the tragedy we must consider is for men and women to starve
spiritually when this abundant bread from heaven is offered freely.
It would be outrageous if we had a storehouse of food and
hungry neighbours. But it’s positively bizarre to have a storehouse of food and
be starving ourselves. The fact is that
at every Mass we encounter God's extreme generosity and his desire to feed his
people.
But the meal is clearly not like a Depression breadline, with sandwiches
handed out as the poor file past. “Make the people sit down,” Jesus tells the
disciples. Let them listen to me for a while so that they may look beyond the bread
they eat and see the gift I am.
Today begins a series of readings from the Gospel of John that
take us to the heart of the Eucharistic mystery. It’s a privilege we get only every three
years, and we must not waste it. For five Sundays in a row we have a special
opportunity to deepen our love for Jesus in the Eucharist, to think about what we’re
doing at Mass, and to sit down with hearts open to receive what Jesus wishes to
give.
If Father Xavier and I, together with an unknown bearded man
in robes and sandals, led you down to Ambleside and began to feed you from
bottomless baskets, we wouldn’t need William Kurelek to paint us; even our
cynical newspapers and television would be taking the pictures of a modern
miracle.
But there’s something greater in church this morning. There are countless ways to describe it, but I will close
with the succinct words of St. Thomas Aquinas: “O sacred banquet, in which
Christ is received, the memory of his Passion is renewed, the mind is filled
with grace, and a pledge of future glory to us is given.”