COOLWATERWORKS

Of the many, many books I have read, perhaps none had more impact in my life than Philip Yancey’s book ‘What’s So Amazing About Grace?”.

Yancey revealed the presence of grace in human history: from Babette’s feast to the last emperor of China, from the confessions of KKK members to peaceful marches in Communist Poland, from Nazi atrocities to riling fans high on boze and dope in Wembley Stadium in London.

Grace in its simplest meaning is anything given by God to the undeserving. Theologians dissect grace in such a way that it becomes discouraging for the common mind (to get a feel of what I am saying, read this explanation on grace) to try to understand it. They treat grace in different classifications such as natural and supernatural graces; the latter further classified into actual grace and sanctifying grace, and so on…

The presence of grace reminds me that I am nothing on my own. Grace for me is the ultimate proof that everyday God is reaching out to me. All that gives us joy in this world – created things around us, relationships, forgiveness, success - when viewed in the light of man’s sinful ways is grace.

And so for me, every travel experience, every picture, everyone I meet and every idea that pops in my head are all graces.

This world longs for grace. And Philip Yancey in the last anecdote in his book showed a proof.

He tells of a scene in a documentary of Bill Moyers on the hymn “Amazing Grace”. (The hymn was written by a cruel English slave trader named John Newton. Yancey relates that Newton first called out to God when he was nearly thrown overboard in the midst of a storm at sea. His conversion came gradually but he continued with his trade. When he renounced his profession, he became a minister and became an ardent fighter of slavery.) The documentary

“includes a scene filmed in Wembley Stadium in London. Various musical groups, mostly rock bands, had gathered together in celebration of the changes in South Africa, and for some reason the promoters scheduled an opera singer, Jessye Norman, as the closing act.

The film cuts back and forth between scenes of the unruly crowd in the stadium and Jessye Norman being interviewed. For twelve hours groups like Guns ‘n’ Roses have blasted the crowd though banks of speakers, riling up fans already high on booze and dope. The crowd yells for more curtain calls, and the rock groups oblige. Meanwhile, Jessye Norman sits in her dressing room discussing “Amazing Grace” with Moyers.”

“Finally, the time comes for her to sing. A single circle of light follows Norman, a majestic African-American woman wearing a flowing African dashiki, as she strolls onstage. No backup band, no musical instruments, just Jessye. The crowd stirs, restless. Few recognize the opera diva. A voice yells for more Guns ‘n’ Roses. Others take up the cry. The scene is getting ugly.

Alone, a capella, Jessye Norman begins to sing, very slowly:

 Amazing grace, how sweet the sound

That saved a wretch like me!

I once was lost but now am found –

            Was blind, but now I see.

A remarkable thing happens in Wembley Stadium that night. Seventy thousand raucous fans fall silent before her aria of grace.

By the time Norman reaches the second verse. ” ‘Twas grace that taught my heart to fear, And grace my fears relieved…,” the soprano has the crowd in her hands.

By the time she reaches the third verse. ” ‘Tis grace has brought me safe this far, And grace will lead me home, ” several thousand fans are singing along, digging far back in nearly lost memories for words they heard long ago.

 When we’ve been there ten thousand years,

Bright shining as the sun,

We’ve no less days to sing God’s praise

            Than when we first begun.

 

Jessye Norman later confessed she had no idea what power descended on Wembley Stadium that night. I think I know. The world thirsts for grace. When grace descends, the world falls silent before it.¹

 

 

¹What’s So Amazing About Grace? : Philip Yancey, What’s So Amazing About Grace?. Grand Rapids, Michigan: Zondervan Publishing House, 1997, pp. 281-282.