Faith



Scared and Sacred: An Excerpt from Adorning the Dark

By Andrew Peterson

Being a writer doesn’t just mean writing. It means finishing. I’ve heard it said that a song is never finished, only abandoned. That’s not true for me. To the contrary, I can’t wait to be done with the thing, because only once it’s finished can I raise my hand at the back of the class and say something that will be considered, not ignored, something that might be a blessing to someone. Only then do I begin to take on some flesh and stop haunting the room. Walt Wangerin Jr. said once that art isn’t art until it’s experienced by another.

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What I Learned in the Darkness

By Jeanine Joyner

I didn’t want to go there. Sitting in stunned silence as Ella Mine performed her Dream War show, I battled emotions that took me by complete surprise.

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Hutchmoot Is A Sending Place

By Kelly Keller

“‘No. You’re forgetting,’ said the Spirit. ‘That was not how you began. Light itself was your first love: you loved paint only as a means of telling about the light.’”
—C. S. Lewis, The Great Divorce

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Convene the Hutchmoot: 2019

By Pete Peterson

It seems unreal that this is the tenth Hutchmoot (eleventh if you count HM UK!), but here we are. Some days it feels like things are a well-oiled machine and we know what we’re doing. Other days it feels like the first year and we’re sure we don’t have a clue. But if there’s one thing that’s constant, it’s this: we still can’t believe we get to have this much fun. And here’s what I mean:

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Video: Eucatastrophe & Adorning the Dark

By The Rabbit Room

We’re so excited for Andrew Peterson’s new book, Adorning the Dark, and we especially appreciate the way he engages with Tolkien’s notion of eucatastrophe as it appears in the creative process—the unrelenting search for a “pinprick of light,” even in the very heart of darkness. Click through to hear Andrew’s thoughts directly in a video interview.

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The Light Princess & A Faerie Wind

By Jennifer Trafton

[Editor’s note: Recently, the Rabbit Room staff has been struck by the sheer amount of awesome new stuff being released during the month of October. So this month’s blog content will be punctuated by posts that spotlight each of these exciting new works of art. We will begin with Rabbit Room Press’s reprinting of The Light Princess, complete with illustrations by Ned Bustard (of Every Moment Holy). What follows is the foreword included in the book, written by Jennifer Trafton. Enjoy!]

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In the Beginning: An Excerpt from Adorning the Dark

By Andrew Peterson

You mumble a phrase. It’s gibberish, but it suggests a melody. You’ve gotten melodies in your head before, but this one feels different, like it’s made of something stronger and older. You notice this because you’re able to repeat it, and you like it, and you sing it again and again, enough times that you pull out your phone and record it. As soon as you get it down, you forget about it and move on.

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Giants in the Land

By Helena Sorensen

You would have laughed to see it—that mound of walruses piled on the Russian coast. Laughter was my first inclination. I wondered when a male walrus would begin an awkward mating dance or heave his bulk at a pesky seagull. I was waiting for the comic soundtrack, the thumping of a tuba, when I began to understand. This was a story of suffering.

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The King of Autumn

By Chris Yokel

In the spirit of fall, here’s a “lost verse” from Douglas McKelvey’s liturgy of “Praise to the King of Creation.”

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Imitation, Theft, and Collaboration

By Chris Thiessen

While I was reflecting recently on Quentin Tarantino’s latest film Once Upon a Time In Hollywood, I was reminded of something T. S. Eliot wrote (unlikely pair, I know): “Immature poets imitate; mature poets steal,” Eliot stated in his essay on Philip Massinger. “Bad poets deface what they take, and good poets make it into something better, or at least something different.”

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The Princess Bride & Impossible Challenges

By Kevan Chandler

I remember the first time I read The Princess Bride. I was a senior in high school and my sister was home from college for Christmas break, brandishing a thick paperback with the familiar title. Of course, I had seen the movie a handful of times, and I always assumed there was a book to go along, but I had no idea what I was getting myself into.

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The Hiding Place: Production Diary, Part 1

By Pete Peterson

When Jake Speck called me about this time last year and asked if I’d be interested in adapting Corrie ten Boom’s The Hiding Place for the stage, my response was “Heck yes! But hang on. Before I agree, let me go read the book and see if I like it.”

The truth was I had only the faintest idea of who Corrie was and honestly didn’t know if hers was the kind of story that would suit my abilities as a writer. I ordered the book and ate it up in a couple of days. World War II. Nazis. The Resistance. Smuggling of Jews. The Holocaust. Faith in the face of nigh-unquenchable darkness. I called Jake back and told him I was in, but I had little idea what I was getting into.

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