This year will be better than next year. Yes, that may reflect more my mood than reality, but it’s a mood that reality reinforces daily.
I’m an eschatological optimist—Christ’s saving work has given me peace (true union) with God, which is all that really matters—but a secular pessimist. The intermittent news of resistance to the totalitarianism that’s coming like Christmas may be accurate, but “So, cheer up, old boy!” doesn’t make me feel better (and making me feel better is no one’s obligation). Things will change for the better, or they won’t; I’ll know which soon enough, should I live so long.
Those charged with preventing with catastrophes (e.g., my country’s invasion) are in fact facilitating them, thereby undermining the good of order that makes the regular enjoyment of other goods possible. I cannot train my attention on the facilitators, however, if the criminal invaders in my vicinity are concentrating my mind wonderfully. Like them, the criminal overlords can be dealt with only by violence; I see no timely way to exercise legitimate violence against either class of criminal. So, I pray each day for safety but, failing that, at least for the opportunity to take a few of the bastards with me.
I will write until I can no longer, content with the probability that what I write might be picked up, if it ever will be, by people who won’t be born until after I’m dead. Perhaps 2024 will see the publication of Christian Individualism: The Maverick Biblical Workmanship of Otis Q. Sellers (the latest draft of which I’m sharing with beta readers) and of the second, expanded edition of Herbert Aptheker: Studies in Willful Blindness. Maybe I’ll get around to mining the 25 diaries (1970-1994) that record my interactions with the remarkable people I’ve met (and the mistakes they couldn’t prevent me from making).
Ultradispensationalist that I am, even the great Reformed Baptist apologist James R. White (b. 1962), whom I’ve been reading and listening to for about ten years has not been able to make a Calvinist out of me (not that he’s tried), but he certainly has ruined any Roman Catholic apologist’s chance of winning me back. Auditing many of his over 180 moderated debates over the past ten years, White always strikes me as having the better of the argument. To the task he always brings not only great learning and preparation, but also grit and not a little humor. A student of history, he teaches biblical Hebrew and Greek, yet wears his learning lightly, if I’m any judge of such things.
A couple of diamonds in the cultural dung heap, however, postpone utter esthetic despair.
One is the Bebop guitar virtuoso Pasquale Grasso (b. 1988) who, after the passing of my teacher and friend Pat Martino (1944-2021), showed me I could get excited about a player again. Here’s a great example.
The other gem is Harlem-born performer Wé Ani (b. 1999), the most versatile, and powerful, pop singer I’ve ever heard, whose voice salves my charred soul and never fails to plaster a smile on my face. My wife and I had first seen her in 2016 on The Voice (when she went by “Wé McDonald”). A physically different (almost unrecognizably so) Wé competed in last season’s (2023) American Idol, making it into the top five. Research revealed she was indeed the same person. What she did this year, however, hooked me. She can belt like nobody’s business, folk her way through any ballad (guitar and all), or rock it out, or out-Broadway any veteran of The Great White Wé, I mean, Way.
There seem to be at least a half dozen Wé Anis: after watching any two videos, I sincerely wonder, “Is that the same singer?” Without, I stress, impersonating any of them, she can put you in mind of Nina Simone, or Mary J. Blige, or Idina Menzel, or Whitney Houston, or Aretha Franklin, or Barbra Streisand. (This list is not exhaustive, but it risked becoming exhausting).
And she gave off a different vibe when belting out a Stevie Wonder classic for Tony Bennett (who clearly inspired her final tonal choice), bringing the Kennedy Center audience to their feet.
And then there’s the uncanny sonic chasm between her childlike speaking pitch and her robust, gritty singing voice: she says she wants to be taken seriously, but “it’s not easy sounding like a 12-year-old at 23.” The simile that comes to my mind is fiction’s Dr. Jekyll and Mr. Hyde (minus the creepy associations): she makes a fool of anyone who prejudges her talent on that basis. (For instance.)
She’s also a modest and charming interviewee (sans tatoos, nose ring, acrylic claws and other accoutrements of female celebrityhood): consider one from 2018 and another from September. The Standard, her latest, will drop on January 12, 2024.
Such are my few oases of refreshment these days. I feel better having shared these sentiments. However quixotic it may sound, I wish all my subscribers and visitors a happy and safe 2024.