Eikon’s 2nd Annual Literature Night!

Eikon is accepting submissions through March 31st, 2017.

What Kinds of Work Are You Calling For?

  • poetry
  • spoken word
  • dramatic/comedic monologues
  • dramatic/comedic dialogues
  • short stories
  • short prose

Does the Content of my Work Have to be Overtly Spiritual?

No, it does not. Work with theological themes or a faith focus are welcome in this space, but so are other content areas. If writing or performance are your gifts, then bring a work that will align with your commitment to “do all for the glory of God.”

Who Can Submit Work?

Anyone within the DTS community with a love for these art forms is welcome to submit work. This includes DTS students, spouses and children of students, faculty, staff, and alumni.

Who Decides What is Selected/Included?

The Eikon writing team, made up of current Eikon students will read all works and create a lineup for the evening. How many works are submitted and the length of the program will determine how many we can include. This means submission doesn’t guarantee you a spot but we will try to be inclusive of as many voices as possible and will contact you a week before the event if your submission is one we would like to include.

What are the Submission Requirements?

  • all works must be original (written by you)
  • your work/selection from your work must be under 10 min in length when performed/read aloud (please time yourself and make the necessary cuts)
  • your work should include full names & emails of performers at the top of the submission (if you would like Eikon to connect you with a performer to share your work please indicate so in your email)
  • Submit your work double spaced, 12pt font with line numbers and save it as a PDF 
  • For your submission email use the subject line: Spoken Word Night Entry
  • all submissions are a commitment to stick to your manuscript as submitted in your performance (without improvisations) and to talk to Eikon event planner about any desired changes before your performance
  • Email your submission to dts.eikon@gmail.com

A Visual Example of the Entry Format:

Lit Night Format Example

We look forward to hearing your voice!

Call for Original Literature, Poetry, Monologues, Spoken Word & Dialogues

Lit& Spoken Word (1)

Eikon is now accepting submissions for this upcoming evening event. If you would like to participate by performance or submit work for another person to read or perform on your behalf please read the requirements below:

Requirements

  • all works must be original (written by you)
  • your work/selection from your work must be under 10 min in length when performed/read aloud (please time yourself and make the necessary cuts)
  • your work should include full names & emails of performers at the top of the submission (if you would like Eikon to connect you with a performer to share your work please indicate so in your email)
  • Submit your work double spaced, 12pt font with line numbers  and save it as a PDF 
  • For your submission email use the subject line: Spoken Word Night Entry
  • all submissions are a commitment to stick to your manuscript as submitted in your performance (without improvisations) and to talk to Eikon event planner about any desired changes before your performance

visual example of entry format:

Lit Night Format Example

Email submissions to: dts.eikon@gmail.com

We look forward to hearing your voice!

 

 

Eikon’s Visual Art Exhibit: Call For Entries

This year Eikon will launch its spring exhibit in conjunction with the opening of the newly constructed Davidson Building. Eikon looks forward to building an exhibit that captures the persona of the student body through the visual arts.

This is a juried show in which a limited number of pieces will be selected for display. Eikon welcomes all visual artists to submit entries. The exhibit will open March 31st and remain available for public viewing through April 8th.

Submit entries to dts.eikon@gmail.com

Entries due date for review: March 14, 2016
Untitled-1
CRITERIA

Each entry must be submitted with dimensions, full color photograph, and approximate weight, artist name, title and medium.

Each entry must be an original work (no replicas).

Each entry must be appropriate for public display (eliminating compositions that are overly political, sexual or violent).

Upon selection for display, Each entry must be matted, framed, or otherwise ready for hanging (cross-wire). Entries which arrive without this preparation will not be displayed. For information on accepted forms watch the videos for each of the options (see links above).

If you have a questions feel free to contact us
with the subject line Re: Eikon Visual Art Exhibit

Revelation: A Study of Light and Shadow

 

Only through shadow do we discover texture. Through texture we see God’s creation. With touch we discover the impact that creation has on our bodies, but through sight we behold the wonder and the beauty revealed in

a drop of water rolling across a waxy leaf,

clouds racing across the expanse of sky,

a child seeing light caught in a leaded pane.

The shadows reveal things that we seek to hide: imperfections, wrinkles, and the scars that we think take away from beauty. A break in perfection reveals the glory of His design. In the fallen archway and the cratered mountain, the Creator plays with light and shadow. Through light and shadow he revels in His creation and reveals Himself.

 

Paul and Laura have been taking pictures since before they met, focusing on life around them and exploring creation from behind the lens. Paul’s lens focused on people and the activity of life, while Laura’s pointed toward the minute and detailed structure of God’s creations. Their son, Connor, became a favorite photographic subject when stole their focus in October of 2013. Paul is finishing his studies at DTS in May with a MACL/MABS. Laura earned her ThM in 2007 and is working on her dissertation for a DMin in Spiritual Formation. They are expecting thier second son, Joshua, at the end of April. 

 

What Hath the Church to do with the Library?

READER

by Garrett Flatt

Why read literature? This question generally receives two responses, though both are forms of bewilderment. The first is from those who have been reading avidly their whole lives, and for whom this question asks something so intuitive, so fundamental to who they are, that they have no idea how to answer it. They simply say, “Because I like to!” The second blank stare comes from those who have never done much reading, or nothing that was not required of them, and for whom this question has never been satisfactorily answered. The second group, however, has been asking this question their whole lives; the first group may not have ever stopped to ask it.

Andy Crouch, in his work Culture Making, defines “culture” broadly as what we make of the world. That is what literature is, roughly: the attempt of someone to make some sense out of the raw data of human experience and to show, through the most ancient art of storytelling, how we interact with that world as persons in community: emotionally, psychologically, intellectually, and spiritually. Usually the intention to come to general understandings of human life is mostly in back of the author’s mind; often insight for an author comes in the middle of writing, perhaps when it becomes clear that a character cannot go down a certain path and still remain true to life, which brings with it its own questions about reality.

I am one of those in the first group who finds it difficult to answer, not so much because I don’t know the answer, but because I am stumped by the amount of possible responses. I could talk about how literature teaches us to accept de facto the very givenness of the world. How that we are shown, implicitly, that our own settings have a great deal of power over us, as they do over a character’s life, both in terms of what our cultures may empower, but also in what the cultures may limit or make impossible. If setting were not so powerful, then authors would have no reason to spend so long carefully crafting the perfect worlds for their characters to inhabit.

Literature teaches more than the power of our environment. My former professors of Russian culture, Drs. Brett and Olga Cooke, used to say that we read literature in order to understand ourselves. I really think that is one of the most appropriate answers. Every good book is a mystery; it delves into the great mystery of ourselves, of human nature: individual and corporate, idiosyncratic and shared. Good literature knows, unlike so many of us, that we do not really understand ourselves, much less each other. We have contradictory motives and desires. We have a drive to think about our world and understand it, but we are often happier when we don’t. We are all so different, yet so incredibly the same. We ask, “Who am I? Why did I do that, when I knew that was a stupid thing to do? Why the hell am I here, anyway? Why can I never be who I want to be? Why should I care about other people? Why did he not like me?”

These are the realities literature addresses, and addresses in the most profound way possible: it gets us to live out vicariously another person’s life, and do things we have either never had the circumstances to do, or—for one reason or another, for better and for worse—never chosen to do for ourselves. And then, to live out the consequences.

Vicarious Living

I am a firm believer in the transformative power and possibility of vicarious experience, of knowing someone, even a character in a well-crafted novel, so well that I begin to understand why they do what they do, that I feel what they feel, that I can taste their experiences. I believe this is possible, not only because I have experienced this, but also because of how I understand both the life of Jesus Christ and the doctrine of the Trinity.

Christians believe that God acts in our real world, right in the middle of lives; we believe that Jesus Christ, God himself, truly took on our human nature in all of its limitations. The Biblical book of Hebrews teaches that Jesus Christ shares in our “flesh and blood,” that is, in our humanity (2:14, 17), in all ways except our sin (4:15). Indeed, he is able to sympathize (in Greek, literally suffer-with-us) with our weaknesses. In becoming God-incarnate, he took on humanity totally, in all of its limitations, partly in order that we would know that God understands our pain and even suffers with us.

But God went further than this. The Apostle Paul wrote in 2 Corinthians 5:16-21 that God made Jesus Christ, who had no personal experience of sin, to be sin on our behalf. God not only took on our humanity, but literally became sin. There is no greater depth God could go for our sakes, in order to make us “the righteousness of God.” Jesus Christ, while being fully God, tasted our sin so that, by grace, we could “taste and see the Lord is good” (Psalm 34:8). The very idea that we can be in Christ, one of Paul’s favorite phrases, speaks to the mystery of taking on another’s experience and living another’s life. Paul even wrote to the Corinthians, “I told you before that you are in our hearts so that we die together and live together with you” (2 Cor 7:3, NET).

  1. Scott Horrell, in his chapter “The Trinity, the Imago Dei, and the Nature of the Local Church” from Connecting for Christ, writes that in the Bible, “we encounter a Father, Son and Holy Spirit each loving the other, giving to the other, honoring the other, glorifying the other—this without confusing the high order of the Godhead, the roles that each divine person has fulfilled from eternity past” (7). The Trinity is by nature, then, self-giving, both internally within the Trinity, and externally, outward to all creation. Horrell suggests that we as humans are created with a capacity to be indwelled by God himself (12). He explains it this way:

“The self-giving nature of each person of the Trinity suggests that Jesus’ teaching on love and self-sacrifice relates to more than our simply being good. It seems to speak to the very nature of the image of God in man…[P]art of our human constitution is that we must give of ourselves in order to fulfill the way we are designed….Thus, in understanding the self-givingness of the triune God, we discover that what Jesus Christ asks of us is what the Holy Trinity exemplifies repeatedly in its own self-revelation. Indeed, in a sense, Jesus asks nothing of us that the Father, Son and Holy Spirit do not practice a million times over” (14-15).

In our call to Christlikeness and “God-likeness”, which is simultaneously a call to become complete and truly human persons, resides a call to the deep experience of entering lives unlike our own, lives of which we have almost no experience other than the common one of being human, of being limited, of being in need of grace. Of course, this amounts to every life which is not our own—as we have said, literature speaks against the assumption that we automatically understand people by showing us how little we understand ourselves. The complete imperfection and imperfectability of real human lives is unmistakable in good literature; everyone is flawed, and flawed more deeply than they, as we, often realize or admit. From this grows the necessity for transformation of the world, of the individual, and of the society which enables or disables individuals. It shows a need, ultimately, for the grace found in Christ, a grace which leads us into that family life of the Trinity, the most fulfilling relationship of all. This is somewhere, by the grace of God, that literature can help lead us.

Vulnerability

Because such vicarious experience is possible, a novel can be said to be a direct invitation to walk in another’s shoes, think another’s thoughts, and live another’s life in a way impossible outside of fiction. We can never enter someone’s mind the way we can in a good book. Crucial for reading, however, is the practice of opening up oneself as the characters are opened to us, to live in each “literary encounter” in the vulnerability which makes such vicarious experience possible. I cannot be closed and invulnerable and read a book—or observe a painting, or speak to a friend—meaningfully. No, unless I open myself up to being transformed, or at least affected by the experience, I won’t really understand it. The Lutheran pastor and martyr Dietrich Bonhoeffer wrote that “acquired knowledge cannot be divorced from the existence in which it is acquired,” which is to say how and where you learn something is just as important, if not more important, than what you learn. Fiction provides a setting to learn, but in a way that contextualizes what is learned, helpfully mirroring the contexts of real life. It can even serve as a healthy complement (antidote?) to academic, non-contextualized learning.

Ethics in Action

Literature not only teaches us how to be open, but the experiences we have through that discipline of vulnerability lead us into situations in which we have never been, asking questions of ourselves—and of our faith—which we have never asked before. This is the crux of my argument: literature puts our beliefs—puts us—into action. Literature puts a world and persons in a jar, along with our deepest, usually unknown desires, our most terrible fears, and our greatest weaknesses and shakes them around to see what will happen. Without having to commit murder, we can see, even from inside the mind of a murderer himself, like with Dostoyevsky’s masterpiece Crime and Punishment, what it is like to commit murder—even murder we get away with.

We all have an ethical code, of course, things we think we would do or would not do given the circumstances. What we often don’t know, is why something is actually good or actually bad. We ask, sometimes explicitly and sometimes simply by the way we act, “Will that bad thing actually hurt me, or someone else? Is it really bad if it doesn’t? Will doing my work diligently for decades ever bring the amount of happiness to myself or to my family as I think it will? What would happen if I left everything I know to live another life? Could I get away with murder? Can one actually care about people, even really bad people? Does anyone feel the way I do? Am I alone?” et cetera.

To grow as Christians, we must put our theology into action, to try it’s soundness in the fires of tremendous joys and sufferings. We must see if our theological “explanations” of reality really hold water. Are our understandings of God and reality simply sentimentality meant to assuage grieving hearts, all the while protecting us from really answering the hard questions, or of really putting ourselves in situations where we must grieve with another person, even as Christ suffers with us? Do we enter people’s lives, or do we speak mystical incantations, platitudes, over them to make them feel better, all while keeping ourselves at arms-length, invulnerable to either real pain or real joy?

The Discipline of Vulnerable Reading

Let me show you how I think about theology when reading literature. Read the beginning of Cormac McCarthy’s The Road:

“When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping behind him. Nights dark beyond darkness and the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world. His hand rose and fell softly with each precious breath….An hour later they were on the road…Are you okay? he said. The boy nodded. Then they set out along the blacktop in the gunmetal light, shuffling through the ash, each the other’s world entire.” Cormac McCarthy, The Road, 3, 5.

I love McCarthy’s writing for its brutal honesty. The brutality of life is simply there, a given, and everyone simply has to do the best they can. When I read The Road, I ask myself repeatedly if my theology—if my supposed faith in God—could really last unchanged while traveling a road that dark, a road which has no end except death itself, in which one finds oneself both living and dying all at once. The characters have no names, heightening the sense of vicarious experience. I awake at the beginning of this novel, with my son beside me. Occasionally, the father holds his gun and contemplates killing his son in order to save him from his daily suffering, or what the boy would endure at the hands of the cannibal groups which wander the road in this post-apocalyptic world. McCarthy repeatedly forces me to contemplate to myself, “Is there such a thing as too much suffering, at which point life becomes truly meaningless? What would I do?” It is an all too easy thing to read the beginning of the book of Job and glance past all the death and suffering he endures. However, when you read a novel such as The Road, the same questions which Job and his compatriots ask become real to you. In reading this piece of fiction, life itself, in an ironic twist, becomes real to you.

It is important to read literature in order both to continually perfect the practice of daily vulnerability and self-opening and to cultivate an empathy and identity with real, messy people and their difficult, real life questions which will shape not only what I think about the world, about God, but how I interact with that world. The discipline of reading literature—and it is, for most of us within our overly busy schedules, a discipline—is at its very heart transformative in the same way that developing a friendship—or knowing God—is transformative, if it is to be anything at all. I can never know when I begin a book, or when I make a new friend, or when I meet with God as he meets me in my life, exactly how I will change. I must make the decision, not once, but every day, in every book as in every moment, to let myself be open to this mystery, this land of unknowing called life…and find life itself.

Perhaps fiction is not so unreal after all.

GarrettFlatt

Garrett is halfway through his ThM at Dallas Theological Seminary. His is someone who is always looking for ways to invite people into an encounter with God in Jesus Christ, through the Bible, literature, art, or simply the world around them. He has been married to his wonderful wife Michelle for almost six whole months! He spends most of his time lost in thought, but he and Michelle enjoy cooking, baking, and bike rides in the sunshine in their new hometown of Dallas.

Read More from Garrett: Disparate Truths

 

 

 

Eikon’s New Website

Welcome to our new website.

For starters here’s our 2016 Leadership Team

Katie Fisher ——————- Matt Snyder ——————–Desire Parker

PRESIDENT ——————- VICE PRESIDENT —————-FIELD TRIPS     


Mark Pate ———— Stephanie Collier ————- Ann Buren

NETWORK/DESIGN ———— SECRETARY —————- SOCIAL MEDIA/PR

Jordan Parker —————— K Pastore ——————– Jacob Beck

TREASURER/FILM ————– VISUAL ARTS ——————- MUSIC         

Grid Officers 2

Paul Singleton —————————————————————- Sarah Frase

  WRITING/PR ————————————————————— WRITING/PR

That’s right-if you’re interested in helping out with Eikon or joining in a leadership role for 2016-2017, we want to talk to you!

PLEASE EMAIL US AT: dts.eikon@gmail.com