Old South Summer 2004 Reporter

Summer Reporter 2004
(540k. Click here to access color, illustrated version in PDF file format)

Old South Church
Boston MA 02116
http://www.oldsouth.org

What's inside?

Old South's Best Kept Secret by Evan H. Shu
Confirmation and the Meaning of Membership by the 2004 Confirmands & Rolanda WardRE
Reflections of an Intern by Guy Pealer
Old South FAQ by 2004 Confirmands & Janet Nolan
Anti-Semitism and the Passion Story by Susan Paley & Adrian Gibbons Koesters (Excerpted by Michael Fiorentino)

(Full Text & Resource List)

Letters to the Reporter
The Villageby Linda Dini Jenkins

Old South’s Best Kept Secret
by Evan H. Shu

The excellence of the Church School is “one of the best-kept secrets at Old South,” says Patricia (Trish) Hazeltine, Church School Director. “People are surprised to find that a downtown Back Bay church has a vibrant church school with 70 families, almost 100 children, an active youth group (next year we’ll have two), and a chime choir. We don’t let people know as much as we should.”

Many church school families would heartily agree with that statement and likely add that the excellence of our church school director herself is equally one of the best-kept secrets at Old South. In the tradition of Old South staff members being extremely (even over) qualified for their positions, Trish came to Old South Church almost five years ago in 1999 as an ordained minister in her own right, having served over five years as the Associate Pastor of the Peace Dale Congregational Church (600 members) in Rhode Island from 1987 to 1993. At that point in time, she took a parental leave to raise her children Will (now 11) and Frannie (9 in July) along with her husband, Weldon Palmer, who is also — yes, you guessed it — an ordained UCC minister, having served churches in both Connecticut and Massachusetts

With so many familial church ties, you might guess that Trish is a PK (Preacher’s Kid) and, while not fully accurate, you would not be far off. Her mother’s family includes missionaries in China that go back to the Boxer Rebellion in 1900, and her mother grew up in China until 1949. Her father, while not an ordained minister, did feel a strong sense of call as an engineer and professor at Brown University who taught appropriate technology for the developing world. He followed this call by spending extended periods of time in central and southern Africa. Trish herself remembers two extended stays living in Zambia at the age of 8 and 14, as well many trips back to Botswana, Zimbabwe, and Milawe. What a surprise to discover what an exotic background Trish comes from.

Still, it wasn’t anywhere exotic that Trish first felt a strong sense of call. To be sure, her family imparted to her the duty to serve humanity where your “career had to matter,” but it was also due to a role model in her home church in Providence, Rhode Island that she felt empowered to go into the ministry. In the 70s, women in the ministry were very few and far between, but a woman named Beverly Edwards, who was then a member at the Central Congregational church, went to seminary and later became chaplain at Brown University. She inspired Trish to think, “Women can go into the ministry.”

After graduating from Swathmore College, Trish attended Union Theological Seminary in New York City, where she just happened to meet a funny and wise doctoral student in the dormitory by the name of Weldon Palmer. And the rest, as they say, is history.

It is not surprising to find the many themes of extended family support, multi-cultural religious liturgies and spiritual upbringing, and service to world that Trish experienced in her own youth as being the cornerstones of what she is trying to build at the Old South Church School. She sums up quite succinctly what she would like the church school children to come away with.

“I’d like them to have a body of songs. Songs touch your faith in a way that goes beyond words and is a source of strength throughout your life . . . . I want them to know the stories — to know the bible stories and have a familiarity with them. . . . Horace Bushnell talks about experiencing God’s love and just knowing without being told that this is a place where you are accepted. It’s a place where we attempt to make God’s love real. I’d like them to know that we have a church family that goes beyond our immediate nuclear family. Also, that there is a larger family where they can turn to for support. There are other parents that they have grown up with and can look to as role models and for more support.”

Any of the church school families can tell you that these principles are evident every Sunday morning at 10:15 a.m. in Church school convocation, where Trish leads families in a real time of worship, song, and community from the first lighting of the worship candle to its closing prayer.

Old South is also a place that Trish herself can now call her family home church as she and Weldon formally joined Old South as members recently. With so much of their own family history being spent apart on Sundays as they each served different churches, they took this opportunity to “worship as a family and be together on Sunday as a family” as they both put it. Indeed, the idea that the church can serve as a wonderful extended family has been made very real for their family. Trish is very thankful to the Old South family for “the wonderful source of support during Frannie’s hospitalization, as well as for other adult role models that Will and Frannie have found in the church.” She adds, “In many ways, Old South is very similar to the church I grew up in. There is a feeling of coming home.”

When asked about how difficult it has been to juggle the various roles of minister, wife, mother, church school director, and homemaker, Trish says, “It’s been fun. It’s been good. Everyone’s juggle is hard, but my roles complement each other nicely.”

And does she ever see herself going back into conventional ordained ministry?

“For right now, I like the immediacy of working with children. You really have to say what you mean. You have to think ‘What does the Gospel mean?’ When you explain it to a six or seven or eight year-old, you have to be really clear about it. That’s really exciting. In that way, it really matters! . . . I wouldn’t give up what I do for anything. I feel called to do what I am doing.”

And with energy and passion like that, the Old South’s best-kept secret will not be so secret very much longer. +

Confirmation &
the Meaning of Membership
by the 2004 Confirmands
with Tributes by Rolanda Ward

This spring, ten outstanding young members of our congregation became full members of our church. What they have to say about the meaning of church membership can teach all of us a lot about the true meaning of the word.

Winston Esposito: “To me what it means to become a member of Old South Church is…
1) to prove that I am faithful and believe in God;
2) to become part of the family of Old South;
3) to commit to coming to church;
4) to show that I want to know more about God;
5) to learn and work on “what it means to be a
Christian.”

Winston, our inquisitor, “But how...? But why...? Can God...?” is becoming a member today because he wants to know more about God. By joining the church, Winston wants to work on what it means to be a Christian.

Kirsten Holland: “The reason I’m joining the church this year is because I want to be a part of the church family. I want to be involved in the church, and I want to be a member. I want to do community service. I want to study the Bible and God’s teachings. Also, I’ve moved a lot, so therefore, I’ve had to leave many churches. It will be nice to feel like I belong. These are the reasons I’m joining the church this year.”

Kirsten, our inclusive and insightful member, is joining the church because she wants to be a part of the church family. Kirsten also wants to be more involved. She plans on accomplishing this by doing community service.

Meghan O’Brien:
“Becoming a member of Old South and joining the church is a process which youthful believers undergo to affirm their faith in God. To me, becoming a member means becoming a part of a loving community of brothers and sisters in Christ.

“Professing my willingness to participate in the church is a way of expressing my adoration for God. Becoming a member will start a new phase of my life that will help me gain knowledge of what the church has to offer. By joining the congregation, I promise to continuously take part in the Church’s activities.”

Meghan, our perfect greeter (“Hello, how are you?”), is ready to start a new phase of life: one that involves her promise to continuously take part in the church’s activities. Meghan is also looking forward to being a part of a loving community.

Sarah MacDougall:
“Becoming a member of Old South Church means that you believe in Christ and believe in the protestant religion. It also brings you together with all of the other members as brothers and sisters.

“Going through confirmation gets you ready and prepared for the next steps, getting confirmed. This is just the beginning.

“A lot of people continue, but you don’t have to. When you go on after getting confirmed, you do more lessons related to your personal life and experiences. I am really looking forward to continuing and learning more.”

For Sarah, our high energy member, confirmation is just the beginning. Sarah is looking forward to learning more about her faith and how she can use it every day.

Isabella Bulkeley:
“Becoming a member of Old South Church means that I am affirming my faith and belief in God. It also means that I am becoming a part of a community of brothers and sisters in Christ; a congregation that will become a part of my extended family.

“As I become a member of the church, I will also start to gain new wisdom.

“I am excited about becoming a member of my church, Old South Church.”

Isabella, our thoughtful and caring member, already feels at home in her church, Old South Church. She is excited about the members of Old South becoming a part of her extended family. Isabella sees confirmation a way to gain Christian wisdom.

Ginny Nolan:
“Becoming a member of Old South Church means that I will be affirming my belief that the Lord Jesus Christ is my Savior. It also means that I will join the family that is the congregation of Old South church. I will be a sister in Christ to everyone else in the church.

“Becoming a member means that I will continue to learn and love Christ.

“Confirmation is a beginning to a new stage of my life with the church.”

Ginny, our church history professor and our reciter of the shortest verse in the Bible, knows much about the
scriptures. One thing she is clear about is that the Lord Jesus Christ is her Savior.

Starr Rice:
“Being a member of the church is:
1. Being good to God;
2. Having good faith;
3. Being a part of a good family.

Being a church family means:
4. We have to love one another;
5. We have to believe in God and life;
6. We have to know God’s way.

Being a member, I think, is saying
thanks.”

Starr, our practical lay member, is saying thanks to God and her church family by accepting confirmation.
Starr is joining the church because she wants to know God’s way.

William Sablove:
“Confirmation means the end of many years of Sunday School at Old South. My mother made the decision to have me baptized because she wanted me to have a religion that could stay with me my whole life. However, I am making the decision to become confirmed. Being a member of Old South means attending worship services and participating in church activities. It means trying to lead a Christian life to the best of my ability.”

For William, our retreat dance party organizer/ disc jockey, confirmation means graduation from Sunday School. More importantly it means trying to lead a Christian life to the best of his ability.

Karla Makholm:
“To be confirmed means I am confirming my faith in God, while becoming part of the loving community here at OSC. This means a lot to me and, I have to say, I have been waiting for this moment for a long time. In a way, I already feel like I am part of the community here because I have been surrounded and supported by the people at OSC all my life.

“They have helped me and stood by me while I have made major decisions, such as applying to high schools. I feel comfortable talking to anyone about my concerns. I feel I am ready to officially become a part of the church. It means a lot to me to be able to take a leadership role in this community and to commit myself to Old South Church.”

For Karla, our ray of sunshine and perpetual smiler, Confirmation means a lot; it is something she has been waiting for. Karla already feels like a member because she has felt loved and supported by Old South members. Karla is ready to commit herself to Old South’s mission; she is ready to give back to her community.

Kyle Fitzsimmons:
“To join the church means to renew your promise to God and to become brothers and sisters in the Old South Church community. Joining the church means you want to have input in the church’s ministries.

“Joining the church means that I will be affirming my belief in God and Jesus Christ. It means that I believe that God, Jesus Christ, and the Holy Spirit are one.”

Kyle, our resident theologian, is affirming his belief in God and Jesus Christ today. To Kyle, becoming a member means that he believes in God, Jesus Christ, and the Holy Spirit. Kyle is looking forward to assisting in the church’s ministries and offering his input. +

Reflections of an Intern
by Guy Pealer

As I am coming to the end of my two year sojourn as the Ministerial Intern at Old South Church, I have been asked to reflect on the experience. I start out with that feeling we all have from time to time; a mixture of “I can’t believe it’s been two whole years,” together with “it seems like I just got here.” Well, to begin, let me say that my time here is something for which I will always be grateful, and that I shall always look back fondly on all the people at Old South Church. I consider it an honor and a privilege to have been part of such a marvelous, historically significant and still faithful congregation. There are two things about this church family that come first to mind. One is its strong support and witness for justice and equality. The other is the fact that its members do not merely tolerate each other’s differences but genuinely love one another in spite of, and maybe even for them.

Here are some highlights which come to mind when thinking back over the last two years.They are not necessarily the most significant or the most interesting, and the list might be different if I made it tomorrow, but here goes.

FIRST PARISHIONER. The first person I met and with whom I had an actual conversation, other than staff members, was Arnita Harrison at a church breakfast in September 2002. Her pleasant conversation and graciousness did a lot to put me at ease as I began learning my way around. She has continued to be just as kind and supportive.

FIRST REALITY CHECK. I admit that, when I first came, I was a little anxious about relating to the Young Adult Fellowship (now the 20s & 30s), knowing that they were accustomed to interns much closer to their own generation. At the first planning meeting, as we were noting birthdays, I discovered that group leader Marraine Kettell’s mother had been born not only on the same date (in an earlier part of the previous century) but on the same day as was I. My fears about relating have proved to be unfounded however (I think). Anyway, I’m the best bowler.

THE RINGING OF THE BELL. In case you don’t know, the bell that rings each Sunday morning at 10:40 a.m. is not on any sort of automatic timer other than the one on the arm of David Vogan, who was kind enough to let me accompany him up into the tower and to even take a few pulls on the rope. There is a quite spectacular view from the top of the tower and I felt fortunate to go where few, other than Confirmands, dare to go.

MOST EMBARRASSING MOMENT: We all settle into routines, and one of mine is that, every Sunday, when the preacher of the day rises to deliver the sermon, I lay my hymnal beside me on the bench. Recently, however, I sat down and didn’t notice that the usual bench was missing and that I was actually sitting in a chair. I nevertheless laid the hymnal down on the nonexistent bench only to have it hit the floor like a gunshot just as the sermon was about to begin. If I had only done it a few seconds earlier, it would have coincided with Carl’s reading of the verse about Satan falling from heaven like a bolt of lightening. POW!

THE LIGHT IN THE WINDOW. I usually sit, during Sunday worship, on the Boylston Street side of the chancel, so that I have a good view of the alley side windows, which are just above the pulpit in my line of sight. I am not nearly as familiar with the Boylston Street windows since I rarely sit on the other side. It didn’t take me long to notice that, during the fall and early winter, a spot of light slowly drifts across from left to right so that at around 11:20 a.m. it sits for several minutes right on the face of Jesus in the second panel. What causes this and whether it is intentional or just providential, I know not. I leave this mystery for my successor. (P.S. My favorite window is the "Children’s Window" just outside Gordon Library).

MOST FUN ACTIVITY. This choice has to be playing flashlight tag on the beach at Craigville with the Confirmands. My night vision never has been very good and I was terrible at it, but still it was a great time.

BEST CREATIVE OUTLET. Somewhere early on I was asked or volunteered to make a sign for something or other. It must have turned out pretty well because I have been asked to make many others since. I have had a marvelous time. Thanks for asking.

MOST UNEXPECTED BLESSING. One of the things I inherited when Lael Murphy departed was the ministry of going over once a month to lead a short worship service at Hale House. These times have been, for me, truly worshipful and come close to the heart of what Christian ministry is all about. Though they miss Lael, I have been assured by the Hale House worshipers that I am an adequate replacement.

FOR THESE I AM GRATEFUL. For the trust of Jennifer and Lael, who chose me and therefore bear the responsibility for my being here in the first place, I have always kept that in mind and hope I have adequately lived up to your expectations. For the privilege of preaching from one of the country’s major pulpits an astounding seven times, for the gracious welcoming and wise council of Carl and the other ministerial staff, for the help and friendship of the of the amazingly competent church staff, for the confidences and friendships I have shared with the whole congregation as well as for their support and encouragement -- for all these gifts, I am truly grateful. May God continue to bless Old South Church. +

Old South FAQ

by the 2004

Confirmation Class

as Collected

by Janet Nolan

One of the tasks for the 2004 Confirmation class was to take typical FAQs (Frequently Asked Questions) about Old South Church and to research that question and answer it in full. It is a good bet that if these same questions were given to the collective membership at Old South, very few of us would even muster a passing score. In fact, the answers that they came up with are so informative that they now are a permanent fixture on the Old South web page <www.oldsouth.org> for all to learn from and enjoy.

Question: What does the round window above the entrance to the Church mean, the one with the angel’s wings and eyes?

ANSWER: The circular stained glass window above the wooden doors at the entrance to Old South Church on Boylston Street represents Revelations 4:8, “And the four beasts had each of them six wings about him and they were full of eyes within; and they rest not day and night, saying, “Holy, holy, holy, Lord God Almighty, which was, and is, and is to come.” — Starr Rice

QUESTION: What is the Parish House?

ANSWER: It is the building between the sanctuary and the Gordon House. It was completed in 1933. The rooms include the Gordon Chapel, Mary Norton Hall, the Guild Rooms, church school rooms, and ministers offices. The tower of Old South Church was rebuilt on top of this new Parish House. The former tower had to be demolished because it was leaning out over Boylston Street. — Collective Authorship.

QUESTION: What is the Children’s Chapel?

ANSWER: It is the small chapel off of the Gordon Chapel where children’s services were held during the years between 1933 and the 1960s (we think). Worship in the Children’s Chapel was discontinued as the congregation’s philosophy moved toward inclusion of the children in the worship service in the main sanc-tuary. It is currently used for storage. — Collective Authorship.

QUESTION: What is the purpose of the “sky and stars” tower? Who designed it?

ANSWER: This is the tower that we look up inside of when we are seated in the sanctuary. It is called the Lantern or the Cupola. The gold stars on the deep blue background represent the firmament of God. It was designed by the church’s architects Charles A. Cummings and Willard T. Sears. The slats at the top of the structure could be opened during the hot summer months, providing a primitive form of air conditioning. These slats are now permanently close. — Collective Authorship.

QUESTION: Why does the church have two rooms for worship, the sanctuary and the Gordon Chapel?

ANSWER: The Gordon Chapel provides a space for small services, where as the sanctuary is for larger gatherings of the congregation. — Collective Authorship.

QUESTION: What were the church school rooms originally used for? How were they named?

ANSWER: The church school classrooms were part of the 1933 Parish House addition. They were built as classroom space. The rooms are painted in bright colors that appeal to young people. Each room is named according to the color of the décor of that room (blue, green, and red). A pre-school is housed in this area of the church during the week. — William Sablove.

QUESTION: Why do we have three kitchens at Old South Church and why is there an elevator in the 4th floor kitchen?

ANSWER: The kitchen on the first floor of the church is off of the Gordon Library, which is located in the old parsonage (now know as the Gordon House). This section of the church was the home to the senior minister and his family until it was converted to rooms for parish work in 1929. This small kitchen is used during coffee hour and meetings to prepare light refreshments. The large kitchen in the Mary Norton Hall was and is used as a kitchen to feed many people for church gatherings. At one time this space was used as a soup kitchen. The 4th floor kitchen is used for meetings and pancake breakfasts. It has an elevator in it that was built as a service elevator and is used only by the sextons. — Collective Authorship.

QUESTION: Why is the church called “Old South Church”?

ANSWER: The church is called Old South because our ancestral home, the Old South Meeting House, was located in the southern part of what was then Boston (before Back Bay was filled in). When the church moved to the Back Bay location it became the new “ Old South”. — Collective Authorship.

QUESTION: What was here, at the current location of Old South Church, before the church was built?

ANSWER: It was vacant swampland. The church was built in 1875 on the then recently filled Back Bay.—Collective Authors.

QUESTION: What else is Old South used for besides church services?

ANSWER: Old South is not a Sundays-only church. The Old South Preschool meets in the classroom space Monday to Friday. The theater classes of the Muriel Snowden High School and the Boston Children’s Theater use the stage. The Boy Scouts and Alcoholics Anonymous hold meetings at the church. The Poor People’s United Fund has an office at Old South. Chorus Pro Musica rehearses and performs here. There are nine standing committees of the church that meet regularly throughout the week as well as numerous sub-committees. — Ginny Nolan

QUESTION: Why do we have two churches, the Meeting House and Old South Church?

ANSWER: Mary Norton gave the land to build the Cedar Meeting House on the corner of Milk St. in the southern part of Boston in 1669. In 1729 the wooden structure was torn down and the Old South Meeting House was built out of brick on the same site. This building is our ancestral home and is a historical museum 364 days of the year. On Thanksgiving Sunday the congregation returns to this church to worship and remember our heritage. In 1875 the congregation moved to the “new” Old South Church that we worship today because the downtown location of the Meeting House was too noisy and speakers could not be heard due to street noise. — Collective Authorship.

Question: What do the words, “Behold, I Set Before Thee An Open Door,” mean?

ANSWER: For the people who come to Old South Church this phrase has a couple of meanings. The first meaning has to do with worship and action. There are a wide variety of opportunities for education, mission and social action, enrichment, religious and artistic expression, and fellowship at the Old South Church of Boston. A number of these activities are listed each Sunday in the pages of bulletin under the heading “Behold I Set Before Thee An Open Door.” It means come in, join us, and participate!

The second meaning of this phrase can be found in the Note of the Inclusive Dimensions of God’s Grace:

"The Old South Church in Boston, in the name of its host, Jesus Christ, and in the spirit of Christ’s invitation carved into the stone of this church’s portico, “Behold I Set Before You an Open Door,” welcomes all who seek to know God and invites everyone to join in our common life and mission through participation and leadership in this congregation.

"Following the one who we believe is Sovereign and Savior, we affirm each individual is a child of God, and recognize that we are called to be like one reconciled body with many members, seeking with others of every race, ethnicity, creed, class, age, gender, physical or mental ability, and sexual identity to journey together toward the promised realm of God. On the threshold of Christ’s open door, we rely upon the healing, unconditional nature of God’s love and grace to be our help and guide as we all move forward with the work of this church in the world."

This note, found every Sunday on the last page of the bulletin, states that anyone who wants to worship God at Old South, no matter who they are, can! Thus, the doors of this church are open to everyone. — Meghan O’Brien +

Anti-Semitism &
the Passion Story
Compiled and Edited by
Susan Paley &
Adrain Gibbons Koesters
Excerpted by Michael Fiorentino

Back in April, our Old South ministers Carl F. Shultz, Jr. and Jennifer Mills-Knutsen hosted a forum on Anti-Semitism and the Passion Story, fueled by the controversy surrounding the Mel Gibson film, The Passion of Christ. Approximately thirty people, representing a richly diverse cross-section of our church family, sat around a circle in the Gordon Chapel exchanging ideas. A few months later, the controversy has simmered down and, regrettably, some of the specific powerful comments made during the forum have escaped my mind. However, the emotion and resolve remain: we must never forget the sincere commitment of our Church to stand solidly against Anti-Semitism.

Below are some key excerpts from A Viewer's Guide to Contemporary Passion Plays, compiled and edited by Susan Paley, M.A., and Adrian Gibbons Koesters, which I hope will answer your basic questions but also whet your appetite to read the whole text online on the Old South webpage. I have added italics to emphasize points that I found particularly important. — M.F.

“Film is an enormously persuasive and compelling tool for the transmission of the filmmaker’s ideas and perspectives. The visual effect of film on the viewer is powerful-so powerful it can create an artistic reality that can transform or overwhelm. The viewer is awestruck by the visual image. Seeing IS believing and we believe what we see. The “Passion Play,” a centuries-old dramatic art form depicting the last days and hours of the life of Jesus, is based on accounts found in the New Testament, or Christian Scriptures, the essential text of faithful Christians, who understand it as the 'word' of God.

“Who, how, when, and with what authority people interpret this 'word' is fundamental to understanding how we make sense out of what we are viewing. Both live and filmed dramatic interpretations can — intentionally or unintentionally — promote a particular religious theology. The artistic vision of religious images that may be already deeply invested by the viewer — again, in either a positive or negative light — can be damaging if disguised or hidden within the very art form itself.

“A Passion Play is a dramatic representation of the Passion narrative. Passion Plays are among the earliest dramas in the Christian Western world, dating back to 1150. Passion Plays became widely popular across Europe, especially during Lent and Holy Week. The Passion Play of Oberammergau, Germany, remains the most famous and continues to be performed today. Passion Plays remain as a dramatic source of inspiration for Christians, a “living” way to reflect on the events most central to their faith, to identify with them, and to understand them at a deeper level. As faith re-enactments, they are important in the spirituality of Christianity. They bring to life the basic event of Christian commitment, Jesus’ death and resurrection, and are meant to nurture the religious feeling of those who view them. They are not meant to be indictments of Jews or to blame Jews or persons of other faiths for the death of Jesus.

“Belief that the Jews killed Christ became translated into action against his killers. As Passion Plays kindled latent rage about the supposed deicide by the Jews, they had an important role in perpetuating anti-Semitism. Since Passion Plays historically have resulted in violence and negative attitudes towards Jews, we must be particularly careful in this time of increasing anti- Semitism to make sure that we do not continue or reinforce the mistake of blaming Jewish people for the death of Jesus.

“It is understood by most Christian traditions that a strictly historical reconstruction of what happened during the last days of Jesus on earth is not possible. . . . All of the Gospels were written well after Jesus died; none of the Gospels as we have them today were written by eyewitnesses to the events as they happened.

“In our own day, Pope John Paul II has stated that the anti-Semitic theology that Jews bear responsibility for the death of Jesus is an “unjust and erroneous interpretation” of Christian scriptures. An accurate reading of the Gospels, history, and current Catholic theology all indicate that while some Jews did oppose Jesus, they were few in number and represented neither Judaism nor the Jewish people
collectively.

“In 1962, the Second Vatican Council was convened in Rome under the leadership of Pope John XXIII. Vatican II, as the council is more popularly known, took formal steps to correct the centuries-old interpretation of the Passion. In the historic document Nostra Aetate [In Our Times], the Roman Catholic Church officially repudiated the charge of deicide against the Jews, as well as all forms of anti-Semitism. Quoting Nostra Aetate, “Christ in his boundless love freely underwent his Passion and death because of the sins of all, so that all might attain salvation.

“Most Protestant churches followed the Vatican’s position, and since 1965 many Christian organizations have worked closely with Jewish groups to address anti- Semitic interpretations within Christian theology.” +

Editor: the full text and additional resources can be found below.

Letters to the Reporter

Editor: This is your forum and your chance to comment or ask questions on Reporter articles or items of interest to our church family. Thanks to those of you who contributed last quarter, and we would love to hear
back from you even more.

Hey old friends —

This month’s Reporter [Spring 2004] looks fantastic. What great graphics, etc. Kudos!

Suzanne
(Rev. Suzanne Woolston Bossert)

Just a quick note to say thanks for all the work that you do. The Spring Reporter looks great! Very impressive when printed in color. [E-mail & online version.]

Your dedication to the church is, as always, quite impressive. It is wonderful that you are able to assist us in this very important function. . . . . I’m continually impressed with your dedication and level of service which you offer all of us at the church. It really makes a difference.
God speed and thanks,
Tom Keydel

Had to tell you - the virtual sanctuary tour [on the Old South webpage <www.oldsouth.org>] is terrific! On Sunday, we had a couple come from Ohio who saw us on the Internet. They came early, talked with me at the Welcome Table, and stayed for a docent tour. We should begin to ask at the new member orientations how many people got to us by Internet contact. Thanks for all you do.
— Dick Yeo

Re: Bishop Spong’s lecture held on April 28, 2004:

Thanks for the invitation to comment: I am so glad I read “A New Christianity ... “ with the OSC book group and attended the lecture. Bishop Spong has given me a new way of understanding Jesus and hearing those who have written about him and spoken for him through the generations. This new perspective allows me to see the difference between the life-affirming love of Jesus’ God and the often arbitrary and judgmental omnipotence that our Christian ancestors attributed to God in order to explain anything that was beyond their understanding. I would recommend this book to any who wish to deepen their Christian faith. OSC’s Fellowship of Lesbians, Gays & Friends has given all of us a wonderful gift — an invitation to a more mature and energized Christian faith than we have yet known.
— Carol Blair

Bishop Spong’s stirring lecture re-affirmed my own beliefs on the equality of souls and the equality of all God’s children. I also think it is so important to hear not only this message, but one about the dangers of fundamentalism, delivered from the pulpit. The fact that this tireless advocate for gay rights admits to his former homophobia gives me a new hope. Likewise, the good Bishop inspired me to think of some comments that may show those oppose equal marriage rights how convoluted their logic is. I forwarded these remarks to MassEquality and would like to share an abbreviated version with the Old South family:
a. Some people think gay marriage is a threat. It only threatens the stereotype of gay people perpetually engaging in promiscuous sex instead of settling down in committed long-term relationships!
b. I’ve often wondered why people who moan about straight couples “living in sin” instead of getting married don’t mind gay couples “living in sin” instead of getting married;
c. The dual-edged sword: separation of Church and State. No matter how much we may want our clergy to approve, marriage is a legal contract. No church of any denomination has ever had to bless or even officiate at any marriage between any couple, same or opposite sex. Legalizing gay marriage can not and will not change that. By the same token, hundreds of ministers and rabbis have publicly supported gay marriage in the media as well as in the pulpit;
d. Wow! Was I mistaken all these years! I thought marriage was about true love, fidelity and a willingness to commit. The opponents of gay marriage have shown me that marriage is all about procreation. Since same sex couples can’t have children, they shouldn’t marry. Furthermore, we must also prohibit the elderly beyond their childbearing years from taking their vows. And, as for these young couples contemplating marriage, we must insist they both pass fertility tests before granting a license. Just think, no more childless marriages! I am so glad I’ve seen the light!

The last item is obviously sarcastic, but makes a necessary point.

— Michael Fiorentino +

Please send or e-mail your comments to:
Reporter Letters
c/o Old South Church (Communications)
645 Boylston Street
Boston, MA 02116
or via e-mail to: <m.fiorentino@worldnet.att.net>.
Please ensure REPORTER Letters appears in the Subject

The Village

The first night in the village we went to the local taverna

And ate good pasta, drank so-so red wine, and devoured the bread

The olive oil was perfume, liquid green and honey rich

They had not seen Americans here since the end of the war, when
We came to liberate the towns along the Po Valley
But it was as if the rental company sent a memo out to every household
Letting them know of our arrival

Six weeks after declaring war on Iraq, there we were
In northern Italy, trying to be invisible, joking that we were
Canadian — Sono canadese — I had them all practice to no avail
When the first local raised his glass to toast the americani
It was clear that he was pro-Bush by his upturned thumb
And we knew the evening was far from over

The communists at the bar sympathized with us and joined in
As a few in our party argued vehemently against the war
Disregarding the fact that they knew no Italian and that only
Their emotions were registering, but that was enough
And when things quieted down a bit, some of us left
Rolling our eyes and hoping for the best

In a few hours we went back to break up the inevitable fight
Only to find that the so-so wine had done its job
I swear, if we had known the words to Lili Marlene, we probably
Would have all stayed and swayed and sung
Lifting glasses in the mad moonlight

by Linda Dini Jenkins, May 2004 +

A VIEWER'S GUIDE TO CONTEMPORARY PASSION PLAYS

Compiled and edited by Susan Paley, M.A., and Adrian Gibbons Koesters

INTRODUCTION:

The purpose of this Viewer's Guide is to provide some important
background on artistic representations of Passion Plays for those who
view Mel Gibson's The Passion of Christ, as well other contemporary
interpretations of the Passion. While the Guide is not meant to be a
specific critique of the Gibson film, it is our hope that in reading the
Guide, people from differing traditions will see the need to be familiar
with the difficult issues that have already been raised during the
production of this film.

Film is an enormously persuasive and compelling tool for the
transmission of the filmmaker's ideas and perspectives. The visual
effect of film on the viewer is powerful-so powerful it can create an
artistic reality that can transform or overwhelm. The viewer is
awestruck by the visual image. Seeing IS believing and we believe what
we see.

In viewing a film, it is critical to understand that texts reflect the
historical and social realities of the time in which they were written.
Yesterday's reality may still be important to us, but it is not always
easy to interpret it in today's context. Therefore, when we find
ourselves caught up in the reality a film creates for us, we must also
be mindful that what we see and hear is one artistic interpretation. So
it is with art that mines the richness of religious texts and
traditions. When a film is made which draws on religious texts, the way
the filmmaker has interpreted those texts is crucial. The "Passion
Play," a centuries-old dramatic art form depicting the last days and
hours of the life of Jesus, is based on accounts found in the New
Testament, or Christian Scriptures, the essential text of faithful
Christians, who understand it as the "word" of God.

Who, how, when, and with what authority people interpret this "word" is
fundamental to understanding how we make sense out of what we are
viewing. Both live and filmed dramatic interpretations can-intentionally
or unintentionally-promote a particular religious theology. The artistic
vision of religious images that may be already deeply invested by the
viewer-again, in either a positive or negative light-can be damaging if
disguised or hidden within the very art form itself.

This Guide will advocate a deeper examination of Passion Plays in their
historical context and in film. It will also review recent theological
interpretations of how Christian scriptures portrayed Jews and their
participation in the death of Jesus. It will discuss anti-Semitism
specifically both in Scriptures and in history. Further, it will address
the importance of the teachings of the Roman Catholic Church since the
Second Vatican Council.

Finally, we offer some practical suggestions for viewers, clergy, and
members of study groups who wish to carry forward the dialogue begun by
responses to Gibson's and other films. We hope that you find the
information contained here informative and helpful. Since it cannot be
exhaustive, a resource list is also provided at the end of the Guide.

Peace and best wishes to you and all persons of good faith.

WHAT IS THE PASSION OF CHRIST?

The central narrative of Christian theology is contained in accounts of
the life of Jesus of Nazareth. These accounts are known as the Gospels
(the New Testament is made up of the Gospels as well as letters and
commentaries by the early Christian community, all written after the
death of Jesus and all considered authoritative by Christians).

The Gospels recount the life and ministry of Jesus at the beginning of
the first century CE. They culminate in his arrest, trials by Jewish and
Roman authorities, death by crucifixion and ultimate resurrection from
death. The trials, suffering, and death of Jesus are commonly referred
to as "The Passion."

There are four different accounts of the Passion, one in each of the
four gospels known as Matthew, Mark, Luke, and John. Christians believe
accounts of the death and resurrection of Jesus reveal God's saving
power over death, available to all of humanity. Good Friday commemorates
the crucifixion and Easter Sunday celebrates the resurrection of Jesus
as the high points of Christian belief and experience.

It is important to note that all four Gospels are considered inspired
scripture, but also that most Christian traditions recognize that each
Gospel was written within a specific historical context to illustrate a
specific religious purpose. The Gospels of Matthew, Mark, and Luke give
different accounts of these events, primarily because all three Gospels
were written drawing upon similar sources. The Gospel of John is quite
different, depicting another chronology of events, much dissimilarity in
the spoken words of Jesus, and a conflicting account especially of the
reactions of those who were present during and after Jesus' death. (See
excellent chart on Gospel comparison at the Boston College Center for
Christian-Jewish Learning- http://www.bc.edu/research/cjl/metaelements/
partners/CBA_Sem/Passion_Narratives.htm)

All of the Gospels were written well after Jesus died; none of the
Gospels as we have them today were written by eyewitnesses to the events
as they happened. Therefore, no Passion Play or film of the Passion can
be accepted as anything like a "documentary" of what happened to Jesus:
each is a religiously interpreted account of the meaning of his death
and resurrection.

WHAT IS A PASSION PLAY?

A Passion Play is a dramatic representation of the Passion narrative.
Passion Plays are among the earliest dramas in the Christian Western
world, dating back to 1150 CE. During the Middle Ages, Christians began
to feel a need to dramatize the events and emotions in the last days of
Jesus' life, especially of his Passion. It is thought that Passion Plays
developed from lyrical compositions originally associated with the
veneration of the cross on Good Friday.

Passion Plays became widely popular across Europe, especially during
Lent and Holy Week. Some were presented in congregations and some in
more theatrical settings like the Passion Play of Oberammergau, Germany,
which remains the most famous and continues to be performed today.

Passion Plays remain as a dramatic source of inspiration for Christians,
a "living" way to reflect on the events most central to their faith, to
identify with them, and to understand them at a deeper level. As faith
reenactments, they are important in the spirituality of Christianity.
They bring to life the basic event of Christian commitment, Jesus' death
and resurrection, meant to nurture the religious feeling of those who
view them.

They are not meant to be indictments of Jews or to blame Jews or persons
of other faiths for the death of Jesus.

WHY ARE PASSION PLAYS CONTROVERSIAL?

Because gospel texts are not documentary recordings, any artistic
presentation of them usually involves the weaving of a single narrative
from the different sources producing an artistic version of the
narrative. Regarding Passion Plays, it is important to remember that any
or all versions of the gospels may be drawn on to "weave the story." A
similar example can be seen in the "Christmas story," which can draw
only on the Gospels of Matthew and Luke-because no "infancy narrative"
even appears in the Gospels of Mark and John. Yet when we think of the
story of Jesus' birth, we think of it as from "The New Testament"-i.e.,
the "gospel truth."

In terms of the Passion Play, when the artist begins to construct it, a
decision is made about which aspects of which text to emphasize.
Therefore, no Passion Play can be understood as a factual, historical
reconstruction of the Passion of Christ. It can only be considered a
faithful interpretation of accounts of the death of Jesus written by
people whose own faith interpretation was recorded after that event.

A Passion Play is primarily used to teach and evoke feeling, using the
awesome influence of image, whether live or on film. When we view a
Passion Play, we are not just examining a word for word transcription of
a text, but how that text is staged, costumed, choreographed, and
orchestrated through music. When using art to present the story of
Jesus, one needs to be especially aware of the power of the
presentation, and cautious about how the play evokes responses.

WHAT IS ANTI-SEMITISM?

Anti-Semitism means "against Jews." One dictionary definition of the
term is: "to be anti-Semitic means to have or to show prejudice against
Jews; discrimination against or persecuting Jews; of or caused by such
prejudice or hostility." The Jewish people originated with Semitic
tribes that were the indigenous people of the Tigris-Euphrates Valley,
the center of the modern Middle East. Anti- Semitism includes the belief
that Jews because Jews are different they are to be despised. This
belief causes fear and irrational dislike of Jews, based on their
presumed alienness and their different beliefs. Anti-Semitism most
importantly is the willingness to shun Jews, speak ill of them, subject
them to social and religious discrimination, deny them social and legal
rights afforded to other people, and subject them to physical harm, even
death. It is based on the belief that Jews must be treated differently
because they are different, alien, malevolent and evil.

WHAT IS THE CONNECTION BETWEEN ANTI-SEMITISM AND PASSION PLAYS?

In the Gospel of Matthew, when Pilate declares himself innocent of
Jesus' death, it is said, "And all the people answered, 'His blood be on
us and on our children!" (Mtth 27:25). Over the course of time,
Christians began to accept this interpretation of the crucifixion to
mean that the Jewish people as a whole were responsible for killing
Jesus. According to this interpretation, both the Jews present at Jesus'
death and the Jewish people collectively and for all time, have
committed the sin of deicide, or God-killing. For 1900 years of
Christian-Jewish history, the charge of deicide has led to hatred,
violence against and murder of Jews in Europe and America.

The charge that the Jews killed Christ/God gave rise to a belief that
Jews were inhuman. They were often portrayed in Christian art and
commentary as demons, complete with fangs and hooves, committing hideous
crimes against Christians. The Jew, historically the object of derision
and animosity, became the living incarnation of Satan. Holy Week, the
week beginning with Palm Sunday and culminating with Easter, became a
particularly dangerous time for Jews, as Christians perpetrated violence
against Jews living in their communities.

Given these developments, which, along with New Testament
interpretations, were incorporated into the production of Passion Plays,
it is understandable that these plays evoked intense feelings of hatred
by Christians toward Jews. Belief that the Jews killed Christ became
translated into action against his killers. As Passion Plays kindled
latent rage about the supposed deicide by the Jews, they had an
important role in perpetuating anti-Semitism.

Since Passion Plays historically have resulted in violence and negative
attitudes towards Jews, we must be particularly careful in this time of
increasing anti- Semitism to make sure that we do not continue or
reinforce the mistake of blaming Jewish people for the death of Jesus.

WHAT DOES THE NEW TESTAMENT SAY ABOUT JESUS' PASSION?

First, Jesus himself was Jewish. Jesus did not repudiate his Jewish
faith during his life or at his death. Jesus' first followers were all
Jewish. In fact, for the first three hundred years, there were
"Christians," but really no "Christianity" as a religion. The groups of
Jews who followed Jesus should more properly be called another group
within Judaism during that time.

Much of the "debate" in the early Christian communities in fact centered
on how much and to what degree Jewish law and practices should be held
to by Jesus groups. Moreover, Jesus and his teachings must be understood
within the context of a fluctuating mixture of Jewish and other
influences on the early Christian communities of the first three
centuries CE. The Christian Gospels reflect only some of this diversity.

This in part helps to explain why much of Christian Scriptures were
written in a controversial style that often portrayed Jews and Jesus-and
therefore Judaism and Christianity-as adversarial. There are four
different accounts of Jesus' death in the Gospels and Jews play
different roles in each of them.

It is understood by most Christian traditions that a strictly historical
reconstruction of what happened during the last days of Jesus on earth
is not possible. The motivating forces behind the gospels were
theological and apologetic, not historical accuracy. The gospel writers'
accounts reflect the experiences of those who transmitted them, part
transmitted knowledge and part faith.

Succeeding generations of Christians construed the theological thrust of
John's use of the term "Ioudaioi" (which may refer to Jews who did not
follow Jesus) to mean a negative judgment on all Jews for all time. This
depiction of Jews formed the basis of the image of the Jew as the
"Christ killer." In fact, concerns by Jewish authorities did contribute
to Jesus' arrest. However, Roman authorities sentenced and executed
Jesus for sedition against the Roman Empire-a treasonable offense
punishable by death.

Jesus' conviction by the Romans carried with it the danger of
persecution for all who followed him or identified with his teachings.
We know that persecution of early Christians under Roman rule was brutal
and widespread. In their own defense, and maintaining that Jesus was
innocent of any crime against Rome, these early Christians explained the
crucifixion of Jesus under Roman authority as the result of a weak Roman
governor who succumbed to Jewish pressure. This resulted in the gradual
vindication of Rome (which made Christianity the official religion of
the state in the 4th century) and an equal exaggeration of Jewish
treachery. The Roman emperor Constantine removed fear of Roman
persecution forever in the Edict of Milan (313 CE), saying, "it has
pleased us to remove all conditions whatsoever, which were in the
prescripts formerly given to you officially, concerning the Christians
and now any one of these who wishes to observe Christian religion may do
so freely and openly, without molestation." Jews, however, were not
protected by these stated religious freedoms.

A COMPARISON OF GOSPEL ACCOUNTS

For reference, and to illustrate that in many places it is clear that
persons who are portrayed as abusing Jesus are not specifically referred
to as Jews, below are citations of the Passion and death of Jesus, from
his "agony" in the Garden of Gethsemane until just before he is taken
from the cross, followed by a comparison of verses from each Gospel
(translations are from the Revised Standard Version):

Matthew Chapters 26:1-27:61 "Then the high priest tore his robes, and
said, 'He has uttered blasphemy. Why do we still need witnesses? You
have now heard his blasphemy. What is your judgment?' They answered, 'He
deserves death.' Then they spat in his face, and struck him; and some
slapped him, saying, 'Prophesy to us, you Christ! Who is it that struck
you?'" (26: 65-67)

Mark Chapters 14:26 - 15:47 "And the high priest tore his garments, and
said, 'Why do we still need witnesses? You have heard his blasphemy.
What is your decision?' And they all condemned him as deserving death.
And some began to spit on him, and to cover his face, and to strike him,
saying to him, 'Prophesy!' And the guards received him with blows."
(14:63-65)

Luke Chapters 22:39 - 23:49 "Now the men who were holding Jesus mocked
him and beat him.and they spoke many other words against him, reviling
him.And they all said, 'Are you the Son of God, then?' And he said to
them, 'You say that I am.' And they said, 'What further testimony do we
need? We have heard it ourselves from his own lips.' (22:63, 65, 70-71)

John Chapters 18:40 - 19:37 "The high priest then questioned Jesus about
his disciples and his teaching. Jesus answered him, 'I have spoken
openly to the world; I have always taught in synagogues and in the
temple, where all Jews come together; I have said nothing secretly. Why
do you ask me? Ask those who have heard me, what I said to them; they
know what I said.' When he had said this, one of the officers standing
by struck Jesus with his hand, saying, 'Is that how you answer the high
priest?' (18:19-22)

DID THE JEWS KILL JESUS?

Passages like the ones above have been interpreted to conclude and
affirm that in fact Jews were responsible for the death of Jesus.
However, contemporary scholars, historians and informed readers of
Christian Scriptures almost universally reject the notion of collective
responsibility by Jews for the death of Jesus.

Jews in Roman times did not have the authority to crucify anyone.
Crucifixion was a Roman punishment for the political crime of sedition
(incitement to rebellion) against the Roman Empire. The decision to
carry out a crucifixion was solely in the jurisdiction of the Roman
authorities, including Pontius Pilate. Jews, like every other conquered
people under the Empire, were slaves to Rome. However, there are those
who have interpreted the Gospels to refer to "all the Jews" as meaning
that the Jews were in collusion with Rome to execute Jesus. Knowing that
the Romans had absolute authority over all affairs of state negates this
misinterpretation of history.

In our own day, Pope John Paul II has stated that the anti-Semitic
theology that Jews bear responsibility for the death of Jesus is an
"unjust and erroneous interpretation" of Christian scriptures. An
accurate reading of the Gospels, history, and current Catholic theology
all indicate that while some Jews did oppose Jesus, they were few in
number and represented neither Judaism nor the Jewish people
collectively.

WHAT IS VATICAN II AND HOW DOES IT RELATE TO ANTISEMITISM?

In 1962, the Second Vatican Council was convened in Rome under the
leadership of Pope John XXIII. Vatican II, as the council is more
popularly known, took formal steps to correct the centuries-old
interpretation of the Passion. In the historic document Nostra Aetate
[In Our Times], the Roman Catholic Church officially repudiated the
charge of deicide against the Jews, as well as all forms of
anti-Semitism. Quoting Nostra Aetate, "Christ in his boundless love
freely underwent his Passion and death because of the sins of all, so
that all might attain salvation."

Most Protestant churches followed the Vatican's position, and since 1965
many Christian organizations have worked closely with Jewish groups to
address anti- Semitic interpretations within Christian theology.

HOW DOES VATICAN II AFFECT CONTEMPORARY PRESENTATIONS OF PASSION PLAYS?

Understanding the enormously influential role that Passion Plays have
exercised in the spread of anti-Semitism, the Catholic Church today
urges great caution in all dramatic presentations of the Passion to
ensure that they do not foster anti- Semitic attitudes and/or behaviors.
For example, Paragraph 597 of the Catechism of the Catholic Church
states unequivocally that "Neither all Jews indiscriminately at that
time, nor Jews today, can be charged with the crimes committed during
[Jesus'] Passion.the Jews should not be spoken of as rejected or
accursed as if this followed from holy Scripture."

Regarding Passion Plays themselves, in 1988, the United States
(Catholic) Bishops' Committee for Ecumenical and Interreligious Affairs
issued a pamphlet, "Criteria for the Evaluation of Dramatizations of the
Passion." This document emphasizes that Passion Plays must avoid
caricatures of Jews falsely opposing Jews and Jesus. It quotes Pope John
Paul II's statement that, "Catholic teaching should aim to present Jews
and Judaism in an honest and objective manner, free from prejudice and
without offenses."

The Bishops' Committee emphasizes that the Catholic Church and the
Jewish people are linked together at the very core of their identity and
that an accurate, sensitive and positive appreciation of Jews and
Judaism "should not occupy an occasional or marginal place in Christian
teaching," but should be considered "essential" to Christian
proclamation.

According to the National Council of Catholic Bishops, any presentation
of the Passion that explicitly or implicitly seeks to shift
responsibility from human sin onto an historical group, such as the
Jews, can only be said to obscure a core gospel truth. "Correctly
viewed, the disappearance of the charge of collective guilt of Jews
pertains as much to the purity of Catholic faith as it does to the
defense of Judaism."

HOW CAN I USE THIS INFORMATION?

Learn more about the important theological issues raised by this film.
Be prepared to engage in conversation, from an informed perspective,
about the issues covered in this guide. Continue to educate yourself and
others about theology, art, and our religious lives.

Most importantly, be prepared to challenge your own preconceived
thoughts, beliefs, attitudes and ideas. For many of us, these
assumptions may be deeply held and uncomfortable to bring into the open.
Consult with religious advisors you trust and who can help you. There
are countless sources of pastoral and theological assistance. Know what
your own tradition really teaches about these issues and let them be
your guide.

Going beyond the personal, utilize controversial issues that arise as
learning experiences to reach out to others. The "Golden Rule" is held
in some version by every major faith tradition. Belief in God and love
of neighbor calls us to selfexamination, which promotes understanding,
acceptance and tolerance. It is in the thoughtful, honest examination of
our differences that we will find our common goodness and humanity.

WHERE CAN I GO TO FIND OUT MORE ABOUT THESE ISSUES?

LINKS AND RESOURCES

Criteria for the Evaluation of Dramatizations of the Passion, United
States Bishops' Committee on Ecumenical and Interreligious Affairs,
1988. <http://www.bc.edu/research/cjl/metaelements/
texts/documents/catholic/Passion_Plays.htm>

"Excerpts from Roman Catholic Magisterial Teaching Documents on the
Crucifixion" by Phillip A. Cunningham.
<http://www.bc.edu/research/cjl/metaelements/
texts/education/magisterium_crucifixion.htm>

"Nostra Aetate," Declaration of the Relationship of the Church to
Non-Christian Religions, Second Vatican Council, 1965.

On The Death of Jesus: Jewish and Christian Interpretations by Dr.
Eugene J. Fisher, Associate Director, Secretariat for Ecumenical and
Interreligious Affairs, United States Conference on Catholic Bishops and
Rabbi Leon Klenicki, Consultant for Interfaith Affairs, Anti-Defamation
League, 2001.

Passion Plays and Judaism, edited by Rabbi Leon Klenicki. Published by
the Anti-Defamation League in cooperation with the National Council of
Catholic Bishops-Secretariat for Ecumenical and Interreligious Affairs
and the National Council of Churches-Interfaith Relations Commission.

Gordon R. Mork, "'Wicked Jews' and 'Suffering Christians' in the
Oberammergau Passion Play." In Representations of Jews Throughout the
Ages, 153-169. Edited by Leonard Jay Greenspoon. Omaha, NE: Creighton
University Press, 1996.

Henry Abramson, "A Derivative Hatred: Images of Jewish Women in Modern
Anti-Semitic Caricature," in Studies in Jewish Civilization 14: Women
and Judaism, Edited by Leonard J. Greenspoon, Ronald A. Simkins, and
Jean Axelrad Cahan. Omaha, NE: Creighton University Press, 2003.

Tolerance and Anti-Semitism: Reflections of Post-War America in the
films Crossfire (1947), Gentleman's Agreement (1947), and Oliver Twist
(1948), Susan Paley, Master's Thesis, University of Nebraska at Omaha,
1998.

Online: The United States Conference of Catholic Bishops, Office of the
Catechism: http://www.usccb.org/catechism/text/index.htm

FOR FURTHER INFORMATION: Ron Simkins rsmkns@creighton.edu Bill Blizek
wblizek@mail.unomaha.edu Bob Wolfson bwolfson@adl.org Leonard Greenspoon
ljgrn@creighton.edu Guy Matalon gmatalon@mail.unomaha.edu

SPONSORS OF THE VIEWER'S GUIDE: Anti-Defamation League Plains States
Office Creighton University Center for the Study of Religion and Society
Journal of Religion in Society The Klutznick Chair of Jewish
Civilization University of Nebraska at Omaha Journal of Religion and
Film Department of Religion Jewish Federation of Omaha Jewish Education
and Library Services

Old South Reporter

OSC Reporter, a voice for the extended community of the Old South Church, explores the mission of the church and aspects of the Christian life through news, stories, poetry, essays, and commentaries

Communications Committee:
Evan H. Shu, Lois Harvey, Steve Silver, Linda Jenkins, Janet Eldred, Elizabeth England, Eleanor Jensen, Elisa Blanchard, Helen McCrady, Carl F. Schultz, Jr., Michael Fiorentino.

Deadline for next issue: September 19, 2004

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Gathered 1669
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Boston, MA 02116
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Carl F. Schultz, Jr. Interim Senior Minister
Lael P. Murphy, Associate Minister
Jennifer Mills-Knutsen, Assistant Minister
Gregory M. Peterson, Director of Music