Hutchmoot 2020 Re-entry: It Takes All of Us

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As our collaborative Doxology’s final “Amen” rang out in North Wind Manor, I looked around and saw that my tears were shared by everyone else in the room. 185 voices from around the world: a harmony achieved miraculously in isolation, joining defiantly in that perpetual song from the dawn of all Creation (“praise God, from whom all blessings flow”) at the end of a long weekend, at the twilight of a very long year—I guess it just did us in.

And in that “amen,” I swear that I heard God whisper, “Look at what we made together.”

That is one of the most absolutely astonishing things about the Creator of the world. He involves us. Not condescendingly, just to make us feel special, and not co-dependently, as if it’s all up to us. But genuinely. He’s made us with voices because he delights in our voices, because of the over-abundance of his love, which would find no satisfaction until there was an earth, until there was sunlight, until there was language, until there was an electromagnetic spectrum, until there was.

From the very beginning of Hutchmoot, we’ve never set out with an overarching theme in mind. It’s not something we want to impose on fifty speakers and hundreds of attendees. And yet, invariably, a uniting theme emerges of its own accord, clear as day and necessary as a cold drink of water.

This year, this conference seemed to declare, loud and clear: “It takes all of us.”

2020 has been a year of profound loneliness and isolation. Gratitude—a rich soil that, when cared for properly, sustains abiding joy—has been threatened by despair’s erosion. The rain has kept falling. I don’t know about you, but at least for me, that was the backdrop as we headed into this Hutchmoot: Homebound weekend.

I’ve lived much of this year in desperate need of something like a shot in the arm of sheer camaraderie—the sense of making something worthwhile and lasting together, something that could not be what it is without each person’s unique story. Something like…well, something like Inkmoot. Something like our collaborative Doxology. Something like eating the same storied meal as thousands of others around the world, even if not at the same table.

This year, we conceded a physical table to the coronavirus. But in return, we got a figurative table with seats for more than 3,000 people. Friends, Hutchmoot: Homebound hosted ten times the amount of attendees as a normal Hutchmoot. Put another way, more guests attended Hutchmoot: Homebound than each of the eleven other Hutchmoots since 2010—combined.

Let me say that again: this year’s Hutchmoot managed to make room at the table for the attendees of every other Hutchmoot ever and then some.

Gathering physically is irreplaceable. We missed you dearly this year. We missed those physical tables, we missed those long discussions in the hallway, and we missed the embodied dimension of an event that is, at its heart, all about what Andrew so eloquently described Saturday night as “the thrill of incarnation.” That loss is incalculable.

And—at Hutchmoot: Homebound, we were able to mourn that loss together, with you. Wendell Berry writes that “the impeded stream is the one that sings.” Well, broken as our song may be this year, it sure is beautiful and true.

Which leads me back to that most astonishing invitation that we at the Rabbit Room believe God is always extending towards us—”Look at what we made together. It would have been impossible without you.” Isn’t it a joy to give sixpence back to our Father, though he’s “none the richer” for our offering? Isn’t it so crucial that we share that “chasm of need” that “binds us together in faith and vulnerability”? It is just such a binding as this which sets us homeward.

And so we are deeply, unspeakably grateful that it takes all of us. We wouldn’t have it any other way.

Pssst—Shigé’s poem, “Grateful,” begins at 14:45.

I am grateful.
Darkness pulls at the edge of my cloak, and
I am grateful to stand
in the smoke. I am able
to laugh as I choke
under scorched skies.
Milky eyes leave streaks
through dust tracks on my cheeks, ash
rains down around me in the streets,
Father, the world is on fire.
I raise my hands higher
in the flames,
I am more than dust, and rust, and pain.
I am grateful


for the strain
of music running through the veins
of earth. For the birth
of new joy in a hurricane
of woes. For those
who raise their horns
to split the night asunder. For thorns
shoved into willing brows and the thunder
of hooves on battle plains. For those who bow
under the weight and laugh beside me.
For the dark that could not hide me,
and the dawn that always rises in the east.
For the feast to come,
that’s starting here
with table scraps of grace
and the light of shattered gold on every face.

Every trace of truth, it matters
and it breaks
into the battered body
like a song. I am wrecked,
and sore,
and long to rest.
But more, and more, and more, and best,
I am grateful.

“Grateful,” Shigé Clark

Every year, we invite you in the comments section to share about your experience of Hutchmoot: Homebound. What themes did you feel emerge throughout the weekend? What observations did you make as you attended sessions and Zoom discussions, sang songs and ate meals? We would love to hear from you.


5 Comments

  1. Scott Weldon

    We really enjoyed being able to “attend” because of the online availability.  Haven’t seen everything, but really enjoyed what we have. 
    Just one comment.  I really liked Steve Taylor’s address (been a fan for a long, long time), but I had one little quibble.  Saying the Kinkade painting didn’t glorify God while the Picasso did based on truth held the two paintings to different standards of truth.  One was not true because of purple trees and too bright windows and no pathway to the building.  While the other was said to be true, even though by the standard of visual truth, Picasso certainly is off base.  Those are not accurate renderings of people, etc.  The second was allowed to “interpret” artistically and still be true, while the first was not.  I understand the point Steve was making, but would have preferred it if he allowed both to “glorify God” while in different ways.  One points us to the beauty of the world, albeit artistically rendered; while the other points us to the suffering in the world, also artistically rendered.  Both are true.  Again, I appreciated the whole presentation, just that one little niggle. 
    Thanks again for all the work that went in to this. 
    SDG
    Scott

  2. Tom Murphy

    @tommurphy28

    Literally, my house caught fire in June of 2020, Shige’s lines will be framed in the same hallway and room where the flames of that disaster attempted to obliterate my library, office, and the content of Biblical Counseling Through Song. 
    Yet, I am grateful that I have a God, brothers, and sisters to sift through the ash to find the refined gold left by the fire of 2020.  Hutchmoot Homebound was one of those nuggets.  There shall be more, praise the Lord!I am grateful.Darkness pulls at the edge of my cloak, andI am grateful to standin the smoke. I am ableto laugh as I chokeunder scorched skies.Milky eyes leave streaksthrough dust tracks on my cheeks, ashrains down around me in the streets,Father, the world is on fire.I raise my hands higherin the flames,I am more than dust, and rust, and pain.I am grateful

  3. bethany j. melton

    shige’s poem wrecked me a little, but i’m not sure it would have before friday.
    this weekend, for me, was stitched over with the pattern of sacred and profane– the eternity in the ordinary, the feast to come that’s starting here with table scraps. that dim mirror between the two got a little clearer during my first hutchmoot, just as it always does when i walk into the rabbit room. that’s because the rabbit room makes me look up and ahead to where an eternal God welcomes me into an eternal Kingdom filled with eternal light. 
    “grateful” put biting words to sacred/profane paradox. i’m grateful for hutchmoot: homebound, which gave shige– and all of us– paper on which to bleed our longings.

  4. Rachel Donahue

    @racheldonahue

    In another little corner of community, Leslie Bustard shared poems by Gerard Manly Hopkins and Luci Shaw and invited a response, participating in the ongoing conversation of poets through the ages. I was just beginning to process HH (which feels strange because I’m not finished watching and soaking it in yet!) but this poem is what grew out of it all:Indian Trail, NC
    “Christ plays in ten thousand places”G.M. Hopkins
    In a thousand faces(or ten, by turn)in grids across the veil of screenChrist playsand poemsand paintsand preachesas each Image images,Selves–goes itselfforth,creates,bears witness.Christ in each one,and in all, and allin Him, one.Isolated together,united apartby a single breathof inspiration;beautiful of feet,fleet of song,created,creating,awaiting the daydismembered partswill be rejoined.

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