737 24 26018 https://digitalcollections.library.gvsu.edu/files/original/3f63ed4525739185d788743685b16d3b.pdf a7dbc9774a388ca33baf0ff65fe6e4d3 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-Program-86 Creator An entity primarily responsible for making the resource Red Barn Theatre Date A point or period of time associated with an event in the lifecycle of the resource 1964-08-11 Title A name given to the resource My Fair Lady program, Red Barn Theatre Description An account of the resource Program for Red Barn Theatre's production of My Fair Lady that lists characters in order of appearance. Program includes a synopsis of scenes for My Fair Lady. It also includes a revised schedule and an announcement of what show is coming next. Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Community theater Source A related resource from which the described resource is derived Donated to the Saugatuck Douglas History Center by Jeanne Hellgren. Digital file collected by the Kutsche Office of Local History for the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/1bd9197e35b6a9cb041f09a24164df22.jpg 95dcbc37684dc047613dafdb24d42f96 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context DC-01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source Seidman Rare Books. PN6014.J6 1903 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-01_Bindings0330 Title A name given to the resource My Favorite Book-Shelf Description An account of the resource Binding of My Favorite Book-Shelf, by Charles Josselyn, published by Paul Elder and Company Publishers, 1903. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context DC-01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source Seidman Rare Books. F868.S5 M9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-01_Bindings0089 Title A name given to the resource My First Summer in the Sierra Description An account of the resource Binding of My First Summer in the Sierra, by John Muir, published by Houghton Mifflin Company, 1911. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1911 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/98da8e5c1ef4f9ca4979570e82f3d737.jpg db3b5611c2cd8d6f80920f188b93b529 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context DC-01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source Seidman Rare Books. PS1796 .M9 1904 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-01_Bindings0279 Title A name given to the resource My Friend Prospero Creator An entity primarily responsible for making the resource Jordan, William James (Designer) Description An account of the resource Binding of My Friend Prospero, by Henry Harland, published by McClure, Phillips & Co., 1904. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1904 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/6445f66e6bb3749084003288945f25b1.pdf 98c92710c5b6e9a20a2d4da8b2baa236 PDF Text Text My God…Why? From the series: The Seven Words From the Cross Text: Mark 15:34 Richard A. Rhem Christ Community Church Spring Lake, Michigan Lent IV, March 13, 1994 Transcription of the spoken sermon "My  God,  my  God,  why  have  you  forsaken  me?  Mark  15:34   My God why? The fundamental central question of our human existence. And it is the fourth word from the cross. Actually, for Mark and Matthew where it is recorded, it is the only word from the cross. But when we combine the four gospels, as we are doing during the Lenten season, then tradition has ordered them in such fashion that it becomes the fourth word. Luke and John decided not to use this word, although they had the tradition from which it was taken. Were they somewhat frightened by the cry? Was it too strong? Was the darkness too great? Would they soften the sharp reality of that cry which pierced the night noontime? Whatever their reasons, at least from Mark and from Matthew these words are recorded, "My God, My God, why hath thou forsaken me?" During this Lenten journey we're taking a special angle on the traditional words from the cross. We've noted that it's not as though there was a court reporter down at the base of the cross recording words that came from the lips of Jesus, but rather that the evangelists selected these particular words and placed them on Jesus’ lips, in order to give us insight into their own particular understanding of the meaning of Jesus' death. These words are simply windows. From the respective evangelists these words are the windows through which we can see how they understood what was happening when Jesus died. And so what was Mark telling us by recording this awful cry, "My God, why?" It is the primal scream that arises involuntarily from the human heart in the midst of the cauldron of human suffering from time immemorial. But the cry itself, the phrase, Jesus didn't invent, nor did Mark, for it's a citation from Psalm 22. Psalm 22 is an anguished cry. It begins with those words, "My God, My God, why hath thou forsaken me?" There are some who say that what Mark is doing is reflecting the idea that Jesus was attempting to route this Psalm. If you would read Psalm 22 to its conclusion, you would find that, while it begins in deepest darkness and is a cry of human anguish, nonetheless, if you follow through to the end, the light breaks through. At its conclusion there is vindication and deliverance and praise to God. © Grand Valley State University   �My God…Why? Richard A. Rhem Page 2   There are interpreters who say that that's what Mark is telling us; but I can't really accept that because, if that's what Mark is telling us, then those to whom he wrote would have had to know that he was citing a Psalm, and there is no indication that that would have been true. Most of Mark's listeners would not have been well educated in the scripture readings. And his listeners would have had to know how the Psalm ended, would have to really know the whole Psalm. If you stop to think about it for a moment, if Mark's telling us that Jesus was reciting a Psalm that ended in trust and vindication, then what he would be conveying would be precisely the opposite of what he actually conveys with the actual words he uses: "My God, My God, why?" That is a cry of dereliction, of desolation, a shriek of horror, a wail in the darkness. That's what comes through. That's the picture. No, I don't think it was simply the beginning of a long recitation, I think it was borrowing the Psalm's opening cry of deepest anguish. There is another very common, classic, traditional theological interpretation of the cry as well. Some of you may remember the old communion liturgy that speaks about Jesus on the cross bearing the wrath of God for us. That on the cross, when he cried, "My God, My God, why hath thou forsaken me?" he was forsaken of God that we might never be forsaken. Well, wherever you might go in scripture in support of that idea, you will have to grant me that it's not in Mark. That is a theological interpretation laid on the passage. It's not in the passage itself. No, No, I think what we have here is one crying out a fundamental central question of our human existence. In the extremity of human suffering, which knows no explanation, the cry is, "My God, My God, why hath thou forsaken me?" Mark is picturing for us Jesus in the most profound suffering, crying out at the silence of heaven as his whole life in ministry is being contradicted. For it was not simply death against which Jesus was railing but the fact that in his death, everything for which he had lived seemed to be over. His strong proclamation of the nearness of God in grace, of the open accessibility of God to all, excluding none, of the presence of God in his presence at table fellowship, in his touch of compassion for those who were sick, in his incarnation of that gracious Presence of God whom he addressed in the intimacy of "Abba," the address that a child would use for a loving and trusted parent. Such intimacy had characterized his whole life. Even in the garden, even when three times over he prays, if it be thy will let this cup pass from me, even there it's "Abba." But not now, not here. Here it's "Eloi." Here it's God. The intimate communion is broken you see. He is abandoned. Heaven is silent. He is in utter despair. And he raises the question. Thank God he raises the question. A primal scream from the depths. It is an involuntary exclamation. Thank God Mark tells us that Jesus said, "My God, Why?" because that legitimizes the question you see. That means that there is human experience for which there is nothing to say but "Why?" Not an intellectual question looking for an answer, but the cry of a breaking heart looking for succor: "My God, Why?" That is a valid human experience. The bible tells us so. Jesus tells us so. © Grand Valley State University �My God…Why? Richard A. Rhem Page 3   That cry has become more poignant to me this Lent than ever before because my friend Arie Brouwer died in October. You know Arie Brouwer. He's been in this congregation. As Executive Secretary of the Reformed Church, he dedicated this sanctuary in 1978. He preached for us a couple of years ago. He was a classmate of mine, a colleague in ministry over many years. Moving from The Reformed Church to The World Council of Churches in Geneva to the National Council of Churches of Christ in this country, he was a born leader, a significant churchman, a believing Christian servant of Christ. In December of 1992, cancer was discovered. In October of 1993 he died. And a year ago during Lent he preached on the seven words from the cross. He tells a story in one of his sermons about coming from New York and a hospital examination after surgery where his son Steven asked, "Dad, you mentioned living by faith, what does that mean?" And he said, "Well Steve, I've had a love affair with God all my life, and I'm not going to let cancer come between God and me." And Steve said, "You and Mom have given your whole lives to the ministry of the church and to the kingdom of God. This seems like a strange way to repay you." And then Arie heard himself saying to his son, "Steve, I don't think that God wants me to have cancer. But I don't think God can do anything about it." And he said, "I know that that challenges something I've always believed about the almightiness of God, but I've been so busy with survival issues that I haven't been able to think about it. But I am going to think about it, and I can hardly wait until I preach on the fourth word from the cross." And when he preached that sermon in Glenrock Community Church in New Jersey just a year ago you could tell that he could hardly wait to get to the sermon because it had become his own existential quest, his wrestling in the dark in the midst of cancer, struggling with his question, "My God, My God, why?" He tells how he picked up the book by Rabbi Kushner. If you were here twelve years ago during Passion week, holy week, I treated When Bad Things Happen To Good People. Rabbi Kushner had lost a child and had gone through deep personal tragedy. Arie found himself coming to the same conclusion that Rabbi Kushner had come to: God is good. God is full of love but God cannot change this situation. The almightiness of God. Because Kushner had said, in classic logic, "If God is almighty, and will not change it, God cannot be good. If God is good and would change it but cannot, then I have to rethink who God is." In the midst of his cancer struggle this was the process through which my friend Arie was also struggling. He went to the Bible. He found out that almightiness is spoken of God ten times in the New Testament but nine of them appear in the book of Revelation. And the book of Revelation, as you know, is a book about the end time, the end of history. It confirmed Arie's conviction, as he wrestled with his question in a very personal way, that God's love and light will ultimately triumph, but that in the meantime there is no tinkering with the process of history. Whether it be God's self-limitations or however you want to explain it. And as he saw Jesus saying, "Why?" in the darkness, with the heavens sealed, his © Grand Valley State University �My God…Why? Richard A. Rhem Page 4   own experience was illuminated. And he was convinced that he must change his understanding of God in order to have God, that Loving Presence, with him in the darkness. I almost hesitated to preach on this word having heard my friend speak out of the anguish of his own dark night. It made me realize how facile is so much pulpit work. So much prattle. It is one thing to talk about the will of God and about the mystery of human suffering when one is healthy and all is well. It is another thing to speak out of the fiery furnace. As I reflected on the experience of my friend, I recognized the value of a Christian formation and the danger of it, and the inadequacy of it. Oh, a Christian formation is valuable. When cancer struck and Arie faced his mortality, he had a tradition to which to turn. He was steeped in it. He had been taught from a child. He had lived in the faith, in the church, in the community of God's people. He had a tradition of faith to which to turn, to test, to plumb. Obviously, we need to tell our children. Obviously we need to nurture our adolescents, giving them a place to stand, a compass for their lives. Obviously we all need a reason for the hope that is within us. We need to be able to speak of the things we believe and the things by which we live and for which we live. There is value in that. What a precious gift to be deeply steeped in a strong tradition of faith. But there is a danger too. The danger is that my understanding of the faith will be, in my mind, identical with the God to whom it points. The danger of a strong traditioning in the faith is that I will see my faith understanding as the absolute truth, rather than a relative grasp of something that is far beyond my grasp. The danger of a strong Christian tradition is that I will come to a moment, as Arie came, when I am face to face with an idea, a conception that no longer works. Then if I have identified my idea of God with God, as though the two were absolutely identical, then if my idea crashes, my God crashes. If I have failed to recognize that all of my catechisms and creeds and confessions are stammering, stumbling, human attempts to express what is beyond expression, to apprehend what is incomprehensible, if I don't know that my best wisdom and insight is a partial piece of a larger puzzle, then, when I come into the crunch and it doesn't work, I will be afraid not simply that my formulation needs reworking, but that my God is gone. Arie went through that experience. He told how, throughout all of his ministry he'd thought about these things, as we all do. And he had tried to rationalize the problem by making a distinction between the prescriptive will of God and the permissive will of God. Now it's a neat scheme. The prescriptive will of God says these are the things God wills, and the permissive will of God is about the things that God does not will but allows. That can work in some situations. He tells, however, that shortly before preaching that sermon a year ago he saw Billy Graham interviewed by David Frost. Arie knew Billy Graham and respected him. He had crossed paths with him many times. David Frost was pressing Billy Graham. He said to him, "What do you say to a parent whose child has born © Grand Valley State University �My God…Why? Richard A. Rhem Page 5   severely handicapped, or what do you say about your own Parkinson's disease?" And Arie heard Billy Graham give this distinction between the things that God wills and the things that God allows, adding, "When I see God, I'll have a lot of questions." With great passion Arie reacted, "Billy it just won't do! If you tell me you've got good news from God about all kinds of lesser things but when it comes right down to the center of my existence you have no news, it just won't do. It won't do for me anymore because it won't do anymore for those who love me." Fortunately, Arie was one who was open and growing and who could look his faith formulations in the face and say, "that won't work anymore. I've got to break through that and move beyond that." Fortunately, he was one who had learned the truth of the poet who penned these words: "Our little systems have their day, they have their day and cease to be. They are but broken lights of thee, and thou, Oh Lord, are more than they." But unless one is open and growing, strong faith formation can be dangerous when you get in the crunch. The finest gift I could give you would be if you hear me, if you could learn from me, if you could receive from me, that you ought to trust God with all your heart, and hold all of your convictions lightly. But an inherited faith, valuable though it is and dangerous though it can become, is finally inadequate. If I have only that which has been given to me, if I have a system of faith, a creedal confessional background, assumptions untested, simply absorbed, they'll not do it for me in the darkness. Finally, one must own one's own faith convictions, and that will not come apart from concrete human experience. If I have a set of truths that I have to impress upon my experience in order that I may understand my experience, I'm in deep trouble. It is rather out of an honest living of my experience that I come to reflect on the tradition that has been given to me and then make it my own through reformulation and new insight. Secondhand faith will not do it for you in a crisis. Somebody else's convictions and conclusions will not allow you to float in the storm. Finally, I must believe what I really believe. I like Mark's gospel. I'm grateful that Mark brought Jesus to his last breath with no shout of triumph, no light breaking through, just simply the awful question, "My God, why?" because that's honest. That's the way it is all too often, for all too many. But if that's Jesus last word in Mark's portrayal, it's not God's last word. For following Good Friday dawned Easter Sunday. I mentioned Arie’s funeral in December during Advent. He had become fascinated with Greek Orthodox liturgy and the music of worship of the Eastern Rite. And the funeral service began with a long prelude of entrance music and then the service ensued. The point at which we would come to the committal service, dust to dust, ashes to ashes, there was once again the entrance music. I thought perhaps it was a mistake until I realized that the first entrance music was the entrance into the presence of God in worship, and the second entrance music pointed to the entrance of my brother into light eternal. As the congregation was © Grand Valley State University �My God…Why? Richard A. Rhem Page 6   acknowledging dust to dust, God was saying, "Good and faithful servant, enter into the joy of your Lord.” No easy solution this side of the final breath. But there is light beyond, thank God. © Grand Valley State University � https://digitalcollections.library.gvsu.edu/files/original/fa6fd6b910172cc5eba98f79eb69613e.mp3 4ab11f0a86c446faf4c7651bd03d01d2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Contributor An entity responsible for making contributions to the resource Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Lent IV Series The Seven Last Words of Christ Scripture Text Mark 15:34 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context KII-01_RA-0-19940313 Date A point or period of time associated with an event in the lifecycle of the resource 1994-03-13 Title A name given to the resource My God, ...Why? Creator An entity primarily responsible for making the resource Richard A. Rhem Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Sound Text Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on March 13, 1994 entitled "My God, ...Why?", as part of the series "The Seven Last Words of Christ", on the occasion of Lent IV, at Christ Community Church, Spring Lake, MI. Scripture references: Mark 15:34. Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives Creeds Lent Nature of God Reimagining the Faith Trust https://digitalcollections.library.gvsu.edu/files/original/9c5b17b5f79ecc18b6ddac9caa920ecd.pdf d980b16887189d0bb2dc021a99e06d15 PDF Text Text My Kinky Valentine explore the world of consensual power exchange and BDSM/Kink @ For more information, contact the LGBT Resource Center at lgbtcenter@gvsu.edu Monday, February 10th 4 p.m. - 2215/2216 Kirkhof Center � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-09_SGF_LGBTQ_2014_BDSM-Kink.pdf Date A point or period of time associated with an event in the lifecycle of the resource 2014-02-10 Title A name given to the resource My Kinky Valentine Description An account of the resource Poster includes the information of the event, including the date, time and place. Subject The topic of the resource Sexual minorities Community centers Sadomasochism Bondage (Sexual behavior) Sexual dominance and submission Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives Source A related resource from which the described resource is derived The Rainbow Resource Center Creator An entity primarily responsible for making the resource The Rainbow Resource Center https://digitalcollections.library.gvsu.edu/files/original/15cd0cbe42109960fcb270e4e4d2f32d.pdf 08e1867834acb831bc45557c7854390f PDF Text Text After the shutdown of Grand Valley for the safety of staff and students due to COVID-19, the transition to online classes was pretty seamless for me. In fact, I did much better having the classes online that I was doing with in person lectures. It has been a struggle for me though since I am a parent to a kindergartener, and I had to juggle helping him with him online work while doing my own and working in the healthcare field. As far as my work goes, we have cut down on the amount of staff we have in the office. I work as a registrar for Spectrum. The family practice in my building has switched to mostly video visits and is only taking sick visit patients in office that they would not be able to diagnose over a video chat. We haven’t had issues with PPE in registration, though we are not currently allowed to wear homemade masks, they have to be medical masks. We have to be screened before every shift for symptoms before we are allowed to show up to work. Those of us on my team who had high enough seniority got to stay in our office with an adjusted schedule, while others were either redeployed to register in the Emergency Department or work in other departments. As far as shopping has gone, my mom is the one who does that. Somehow, she always managed to find all of the products that we needed. We’ve never had to worry about running out of cleaning products or toilet paper, which given the hoarding of the toilet paper has been a miracle in itself. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource COVID-19 Journals Creator An entity primarily responsible for making the resource Grand Valley State University. University Libraries Description An account of the resource This collection of journals and personal narratives was solicited from the GVSU community by archivists of the University Libraries during the events of the 2020 COVID-19 global pandemic. During this unprecedented crisis the university closed suddenly, following federal and state guidelines of social distancing to reduce the spread of the novel coronavirus. The university closed its campuses on March 12, 2020, and quickly moved students out of campus housing. Faculty swiftly transitioned to fully-online teaching for the remainder of the Winter 2020 semester, and all campus events, including commencement, were cancelled. The purpose of the COVID-19 Journaling Project was to document the individual and personal experiences of GVSU’s students, staff, faculty, and the wider community during this time of international crisis. Some project participants were university student employees who were compensated for their journaling. Other participants were granted stipends or extra credit for submitting entries to the archives. Still others participated without any compensation or credit. The University Archives remains grateful to all who submitted journals, for helping us to understand the impact of this crisis on our community. Date A point or period of time associated with an event in the lifecycle of the resource 2020 Source A related resource from which the described resource is derived University Archives. COVID-19 Journaling Project Subject The topic of the resource Epidemics Grand Valley State University College students Personal narratives COVID-19 pandemic, 2019-2020 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context COVID-19_2020-04-26_OhmanCourtney Creator An entity primarily responsible for making the resource Ohman, Courtney Date A point or period of time associated with an event in the lifecycle of the resource 2020-04-26 Title A name given to the resource My life during COVID-19 Description An account of the resource Journal from GVSU student Courtney Ohman during the COVID-19 pandemic. Subject The topic of the resource COVID-19 pandemic, 2019-2020 Epidemics Grand Valley State University College students Personal narratives Source A related resource from which the described resource is derived University Archives. COVID-19 Journaling Project Publisher An entity responsible for making the resource available Grand Valley State University University Libraries. Special Collections and University Archives. Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/de85ab5ea2e54c674e78b79f4dcba28b.pdf ff4680aa4755b83717075966be68a018 PDF Text Text West Michigan Women's Studies Council Presents: WENDY WASSERSTEIN Pulitzer Prize and Tony Award winning playwright My Life in the Theatre Thursday November 4, 2004 7:30 p.m. Talk to be followed by a reception and book signing St. Cecilia Music Society Royce Auditorium 24 Ransom Avenue NE Downtown Grand Rapids FREE AND OPEN TO THE PUBLIC For more information call GVSU Women 's Center (616) 33 1-2748 MI C ~ M edia Sponsor ~- RAD I 0 l'lt111!) I Iii Ill[ I I \\ I "-: l 'C lHI \, •Ill". ( , •Ill< .I 1111 hls:I r-,11 l~l/ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-09_SGF_WGS_2004_InvitedSpeaker_WendyWasserstein_Poster.pdf Creator An entity primarily responsible for making the resource Women & Gender Studies Program Date A point or period of time associated with an event in the lifecycle of the resource 2004-11-04 Title A name given to the resource My Life in the Theatre Description An account of the resource Poster including the date, time and location for the lecture by Wendy Wassertein. Signed by the speaker with text that says: "To Kathleen - All best." Subject The topic of the resource Women's studies Lectures and lecturing Dramatists Source A related resource from which the described resource is derived Women, Gender, and Sexuality Studies Department Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/89f9b7a8fd34e543ea49830ece401470.m4v b4c139d81dd8fdefdc2212edebd3211d https://digitalcollections.library.gvsu.edu/files/original/e1b5e50c88bf45f5227047eb6df4db10.pdf dc1d8cf1678d2f69d1e919e7caf2a3d6 PDF Text Text William (Bill) Myers (1:00:22) (0:19)  Born in Chicago in 1928 March 18 (0:34)  His Father died when he was ten years old and his mother died when he was eleven (0:40)  His Aunt and Uncle brought him and his three sisters to Michigan (0:52)  His aunt and uncle adopted him and his 3 sisters o Name changed from Paul to Myers (0:59)  Grand Rapids, Michigan o Spent most of his life in Grand Rapids (1:08)  He joined the Merchant Marine (1:21)  His cousins and friends joined the Navy during World War II o He wanted to join too but he was too young (1:36)  He looked around and found out that he could join the Merchant Marines at 16 (1:46)  Sent to Sheepshead Bay and Hoffman Island in New York Haror for radio school (2:14)  Boot camp for merchant marine was run by the Navy o Couldn’t have armed rifles due to international law o They used sticks and brooms to practice o Training was very similar to Navy training  Obstacle course, water jumping, etc (3:22)  It was a big adventure to all of the guys many were 18 or younger  They did not realize the danger that they would be in once they got out of basic (3:30)  Radio school was hard because he was only 16 and did not have a very strong educational background o He only had up to 10th grade at Creston High School (3:47)  The training involved a lot of mathematics (4:37)  Worked as a propeller hauler during the summer o He studied Algebra while doing this o He didn’t do well with math at Creston High School, but did very well on his own when he had the proper motivation �(5:06)  Told he had to pass a test to get into the radio school because he was too young o He passed the test because he studied very hard for it (5:32)  He was taught Morse Code o It was easier because he had a music background  He played the Harmonica (5:55)  He passed the code test o Technical part: radio transmitters, theory of radio, rules & regulations of international communication, and other currencies o Main thing was how to decipher code books  All messages were in codes  Took hours to decipher the codes sometimes (6:59)  Took three radio operators 8 hours to decipher the messages detailing the end of the World War (7:15)  He was in radio school for 6 months (7:24)  He had tests every week to test progress o If they passed the would spend the weekend in New York City (8:06)  He went roller-skating a lot o New York City looked like a Metropolis compared to Grand Rapids (8:29)  Couldn’t make a lot of friends due to the intensive studying o Dire need for radio operatives at the time  Needed 3 radio operators on every ship (9:38)  Got up around 5:30 am, clean up, march to breakfast, start class around 8 am until night, then did homework o It was an intense program which was shortened in length due to the high demand (10:25)  Never sent to a ship to practice the radio (10:48)  April 1945 he graduated (10:58)  First sent out on the SS John W. McKay from Mobile, Alabama (11:15)  In Central Caribbean he was headed for Okinawa when war with Germany ended (11:20)  Had a lot of messages to decipher �o Had messages detailing end of the war with Germany, but they were to continue with orders to the Pacific (11:57)  They had no concern for U-boats o Mostly concerned about crossing the Pacific in a convoy (12:15)  John W. McKay was a liberty ship o He was mostly stationed on liberty ships through his military career (12:28)  Liberty Ships were built post haste o Could be finished building 1 in 2 days  Henry Kaiser designed and engineered them  Accommodations were not bad, they were slower than most ships o Victory ships were much faster (13:14)  They were produced en masse, made almost 200 liberty ships  Liberty ships delivered almost all of the military supplies for the entire war o Delivered cargo to Europe and Far East under the Marshall Plan after the war as well (13:44)  First voyage was an adventure o Went through the Panama Canal and into the Pacific in a convoy (14:10)  He was in the Caroline Islands o Almost 1000 ships mustering there o Preparing for an invasion of Okinawa (14:24)  The island was necessary for the land invasion of Japan (14:32)  Could listen to music as a radio operative o He loved Tokyo Rose as well as the other shipmates (15:44)  Navy Gunman would send up black balloons to practice shooting o They never hit anything (16:17)  Got caught in a typhoon en route to Okinawa o It was his first experience in bad weather (16:42)  They were transporting a makeshift airport and folding aircraft o The lines securing the cargo during the storm broke  He had to help secure them  Nobody got hurt  It was an amazing sight to see/experience (17:32)  Sent to Manilla, Shell Harbor �o The Japanese submarines were the threat, not the air force (18:25)  Liberty ships that were sent ahead of their boat were torpedoed by Japanese Uboats o He ship was not when they went through the same area (18:54)  It took them 6 weeks to unload the cargo o Tied up to a sunken Japanese ship  They were sent back to the States once they were unloaded (19:25)  A lot of ships were loading and unloading at the bay o Lots of ships were diverted to Manila because Okinawa (after the victory) couldn’t support the ships (19:58)  They were given a course through the Philippines once cargo was emptied (20:19)  The port authority wouldn’t give the ship food due to rationing in Manila (23:32)  The ship hit an unmarked coral reef o Navy sent a ship to haul them off and check the ship over  Took 4 days (24:22)  While heading to the Panama Canal, the war with Japan ended o They also ran out of food before they reached the canal (24:33)  The cook kneaded bugs into what was left of the flour to make bread (25:11)  The end of the war was an amazing celebration (25:20)  They were diverted to Chile (25:28)  They loaded up copper ore that was going to be delivered to Savannah, Georgia  They were sent straight to Chile o Spent three weeks in Chile and celebrated the end of the war there (26:58)  Decided to stay with the merchant marines delivering cargo all over the world after the war to help rehabilitate the nations (27:12)  He went to Italy, China, Japan, Canada, all over the US, South America, South Africa, Costa Rico, and the Philippines (28:11)  In Italy the was had devastated the area around Rome o Italians were not adapt at cleaning up o He toured Rome while there (29:34) � He went to Genoa and Savona to drop off cargo (30:38)  Saw military and the devastated areas (31:51)  In North Africa there was a different situation o They were French protectorates  He went to a dance  The girls wouldn’t dance wth the Americans, only the British o Eisenhower had bombed that area, and the Germans never bombed them, they had anger towards the Americas  He did not see any Arabs (34:48)  He went to the Philippines o He drank here o Asked to go to a Philippines Independence party  Very friendly towards Americans o They picked up copper ore and tobacco during stay (37:58)  Went through the Indian Ocean (38:21)  He attended yearly reunions  Talked a lot about his sea adventures o Good memories (38:36)  Two trips to Shanghai, China o The area changed drastically from his first visit to his second o It had been a very modern but primitive setting before  One of the best movie theatres he had ever been too  Large contrast between luxury and poverty (40:14)  Would throw garbage overboard o People would sift through their garbage  They shipped lumber to Shanghai o They worried it would go to the communists (41:46)  6 weeks after they left China from the second voyage, the communists took over o Rise in currency exchange rate (47:15)  Many Japanese were angry that America occupied and bombed their country (48:27)  Ate in the officers lounge o Only friends were other officers  Due to association o Liked the navigate the ship (49:43) � Officers were friendly, met lots of people from New Orleans, various backgrounds o Went crawfishing with people New Orleans after he retired (52:05)  Not many people left after the war was over o Not many people came in after the war ended either o They closed the radio school once the war was over (52:59) o Need for ships in the merchant marines was dwindling and many liberty ships were being scraped, needed less radio men o It became harder to find jobs on ships as radiomen (54:50) o Couldn’t support his girlfriend on the merchant marine salary (55:01) o He married when he was 23 (55:07) o He took a job with the US Tobacco Company o Put up advertisements, samples and such (55:51) o He never thought about going to college (56:04) o He bought a store in Benton Harbor o His wife did not want to leave her job in Grand Rapids (56:24) o He sold his store, lost half of his money (56:30) o William P. Lear, worked in his engineering model shop o He was promoted to an engineer without a degree (56:52) o He made a few patents o He became a contract engineer o Worked for 14 compnaies o He wanted the experience (57:36) o With out a degree, he feels that he did very well for himself (57:49) o He grew up in the Merchant Marines and became a man o He learned a lot about the world o Amazing to see how much things were devastated by the war � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context MyersW Title A name given to the resource Myers, William (Interview outline and video), 2008 Creator An entity primarily responsible for making the resource Myers, William Description An account of the resource William Myers was born in Chicago in 1928. He enlisted in the Merchant Marines at the age of 16 and trained as a radio operator on Hoffman Island in New York Harbor. He sailed in the Atlantic, Pacific and Mediterranean during the last months of the war and for several years afterward as the US was providing aid to and helping to rebuild countries affected by the war. Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings World War, 1939-1945--Personal narratives, American Merchant marine--United States Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2008-04-17 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/fe0140230aa66de31b063c10e6895d0c.mp4 441d74eee3c54a7ecbe3274fa01effa3 https://digitalcollections.library.gvsu.edu/files/original/d1fc9f8c68c480929ae23280af28f393.pdf 5ef84148d9e6aae11ef27c6b1f7f2351 PDF Text Text Grand Valley State University Veterans History Project (51:31) Johnnie Myles Background information (00:16)             Born in Natchez, Mississippi, in 1929. (00:18) Part of his family lived in Mississippi and part of it lived in Louisiana (00:54) His family was mostly farmers working primarily share cropping. (1:05) His mother passed when he was 5 months old. He was then raised by his aunt in Natchez. He lived with 2 boys and 2 girls. (1:24) Attended Catholic school in Mississippi through elementary school. (2:16) He was later removed from Catholic school and placed in public school in the 8 grade. He was ahead of his class when he began to attend public school. (2:36) The Catholic school he attended had white nuns for teachers, but the students were primarily black. (4:33) He attended school through the 10 grade. He was 16 when he left school and volunteered for the armed forces. (5:40) Due to his age, Johnnie needed consent form his legal guardians before he could go into the service. (6:15) He had family in the military. This inspired him to also enlist in the armed forces. (6:50) He wanted to be a soldier like other members of his family. (7:30) At age 17 in 1946 Johnnie was enlisted in the Army. (8:26) th th Basic Training (8:40)      He was then sent to Fort Sam Houston. (8:44) Due to his selection of the medical corps he was sent to school for extra training. (9:30) Basic training included a lot of marching. (9:49) During his basic training the military was not yet intergraded. His training unit was all black including the drill sergeants. (10:08) When he arrived at Fort Sam Huston there were some men there who were waiting to be discharged who had served during World War II. (11:26) Desegregation of the Military (11:43)   Desegregation of the military was ordered while Johnnie was at Fort Sam Houston for basic training. (11:43) His unit was chosen to be one of the first to be broken up and desegregated. His unit, the 25th Infantry Regiment, was broken up and placed into the 15 Infantry Division, which was desegregated. (12:00) The desegregation required some adjusting and was “touchy” at first. Over the all, unit was united as one over time. (12:43) When the unit was allowed to go into town and leave the base, the blacks and whites rarely socialized with one another. (13:27) th   �  The Fort did put forth efforts to east the tension of the desegregated unit. (13:58) He was still a medical aide when placed in the 15 Division. (14:40) th Basic Training cont. (14:45)       He was trained on how to apply bandages and recognize specific wounds. (14:50) He was trained to work in a field hospital. (15:15) The men were given medical supplies and a helmet with a red cross but no weapons. (15:55) He served at Fort Sam Houston (16:16) The men he served with were from all over the nation. (16:50) There was a stark contrast between soldiers from the north and soldiers from the south. Soldiers from the north were much less accepting of segregation that existed in southern society. (17:23) Service at Fort Belvoir Virginia. (18:30)            He was reassigned to the 92 Transport Battalion. He was still a medic. (18:39) At this base there was a total mixture of black and white soldiers. (19:27) Here, Johnnie served as a medical technician. (20:30) He mostly preformed simple first aid at this Fort. If there was a serious injury the individual would be transferred to a hospital. (21:33) He would often travel to Washington when given a pass. He believes the segregation in the capital was equally as bad as in Mississippi. (22:33) The treatment of segregation was not seen as an oddity to Johnnie due to his exposure to it during his childhood in the south. (23:21) Blacks from the north where often easily frustrated with the lack of freedom available to blacks in the south. (24:10) He originally enlisted for 3 years. He was discharged in 1949 (24:33)] After having been discharged, Johnnie attended trade school in Natchez on the GI Bill. (26:00) He lived with his aunt and uncle, however, attended school for 6-7 hours a day. (26:47) After having completed his schooling, he got a job in a cobbler shop in Natchez. He held this job for 18 months. (27:30) nd Reenlistment in the Army (29:21)  In 1952, he reenlisted in the Army (28:21)  He reenlisted due to his interest in having more experiences in other places aside from his home town in Mississippi. (28:35) He was then sent to Arkansas. Here he was an administrative man in a military hospital. (29:16) At this time (1952) he was a Tech Sergeant. (29:44)   �       The pay was better than what he maed while working in the shoe shop. (30:36) Before working in Arkansas, he had gotten married. He was given a special quarters where married personnel were stationed. (31:03) The hospital he was employed in did serve badly wounded soldiers [the Korean War was going on at the time] who needed increased time to recover. (31:44) Being a sergeant and working in the administrative part of the hospital, he had approx. 4-5 workers under him. These men were not all black. (32:37) Integration at this time (approx. 1953) was much more accepted. However in the Southern states, some still struggled. (33:00) During his second enlistment (1952-1958) he spent his entire service in Arkansas. (53:19) The army only allowed so many dependents per soldier. After he became married and had kids Johnnie had too many dependents. (36:18) Life after Service (37:00)      After leaving the service, Johnnie moved to Grand Rapids Michigan. (37:01) In Grand Rapids Michigan he started 2 shoe shops. (37:53) He did not buy a home but did buy a shop. (38:59) He worked in the shoe business for almost 30 years in Grand Rapids Michigan (approx. 1959-1989). (39:42) He fathered 4 girls and 1 boy who later served in the Marines. (40:48) Thoughts on service (41:20)       He believes he received a lot of education as a result of his military experience. (41:23) He made long term friends as a result of his military service. (43:05) He met one of the Tuskegee Airmen. (44:00) He was at Fort Benning, Georgia before the military was desegregated. (45:21) After the military was desegregated, the black soldiers where given better facilities. (46:50) He went into the military at a young age (17) and was able to learn how to be an adult as a result of his military experience. (49:07) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context MylesJ1182V Title A name given to the resource Myles, Johnnie (Interview outline and video), 2011 Creator An entity primarily responsible for making the resource Myles, Johnnie Description An account of the resource Johnnie Myles, born in Natchez Mississippi in 1929, enlisted in the Army in 1946 at the age of seventeen. He qualified for training as a medic, and did both basic and medical training at Fort Sam Houston, Texas. While he was there, the Army began to desegregate, and the all-black unit that he was initially assigned to was broken up, and he was placed in an integrated unit. After completing his training, he was assigned to Fort Belvoir, Virginia, where he served in an integrated transportation unit as a medic until his discharge in 1949. After returning to Natchez, attending trade school and getting job in a shoe shop, he decided to reenlist in 1952 in order to see more of the world and make a better life for himself. He was assigned to a base in Arkansas, and was now a sergeant supervising several soldiers in a medical unit. He stayed there for two tours, and was discharged in 1958. Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings World War, 1939-1945--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Other veterans & civilians--Personal narratives, American United States. Army Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2011-08-25 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/4847662bcf519df6802f562678b43223.jpg 2afec52eff8653b7e5165b74cbd72bdd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context MyrtleAl_Photo01 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Date A point or period of time associated with an event in the lifecycle of the resource 1979 Title A name given to the resource Myrtle, Al Description An account of the resource Al Myrtle Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng 1979s https://digitalcollections.library.gvsu.edu/files/original/bc72421fa28421f4ab4941a6215b8d27.jpg 8bf2c5a7dfcec5a6d095424a84439ada Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context MyrtleAl_Photo02 Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Date A point or period of time associated with an event in the lifecycle of the resource 1979 Title A name given to the resource Myrtle, Al Description An account of the resource Al Myrtle Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng 1979s https://digitalcollections.library.gvsu.edu/files/original/e9544dd6f9c56e3cd9e408f266edf161.pdf 9be0b735e8df3e9659e8e3effafac6ea PDF Text Text Mystery Embodied From the series: Aspects of God Text: Exodus 25:8; I John 4:16; John 1:14 Richard A. Rhem Christ Community Church Spring Lake, Michigan June 21, 1998 Transcription of the spoken sermon With the Pentecost storm, we had to move Pentecost up to a week later, which was Trinity Sunday, which made Trinity Sunday a week later, which meant that my series on Aspects of God would have three aspects collapsed into two. But, you can bet I’ll get them all in. Last week we spoke about that aspect of God as Mystery, the ultimate Mystery of everything beyond our knowing, beyond the possibility of our knowing. There was a phrase in one of our hymns this morning which spoke about the cloud of unknowing that comes from a Christian, mystic, medieval time. The cloud of unknowing. Entering into the cloud of unknowing is to experience God, Mystery, not in the sense that eventually we’ll figure it out if we keep working at it long enough, but Mystery as that which is beyond human comprehension or the capacity of the human mind to get itself around. Last week we talked about Mystery Experienced, because that ultimate mystery of everything is experienced. There is that seemingly universal human experience of the Ultimate, of that Mystery, that ultimate mystery that we cannot comprehend but yet which we sense, experience, which we say is none other than the breath of God or the Spirit of God, so, that Ultimate Mystery is experienced. Today I want to say that that Ultimate Mystery has also been embodied. Last week we looked at Moses in that interesting story where he says to God, "Don’t lead this people up if You won’t go along," and God says, "I’ll go along." Then, Moses, emboldened, says, "Show me your glory," and God says, "No way, Moses. You can’t see my glory. That would blow you away. Get into this cleft in the rock and I’ll put my hand over you and I’ll pass all my goodness past you and you’ll see my backside. But, you can’t see my glory." We also listened to the conversation between Phillip and Jesus where Jesus was talking about going to the Father and Phillip said, "Oh, just show us the father and we’ll be satisfied." And Jesus said, "You don’t get it yet. You can’t see the © Grand Valley State University   �Mystery Embodied Richard A. Rhem Page 2   Mystery. You’ll never penetrate the Mystery, but if you’ve seen me, you have seen the Father." That is today’s emphasis. That is the aspect I would stress today, and I want to say that every religion needs some concretization; every religion needs something to hang on to, something concrete, something to give that Mystery specificity and directionality. The little child that was baptized in the beautiful little kimono - I was thinking about the Buddhist temple. The Buddhists understand that God is Mystery better than we could ever begin to, because their whole tradition is based on the idea of the void. God as the void. Emptiness. For them to try to put some concrete shape to that or some content to that is to deny the core of their religious understanding which is God as the emptiness or the void. But they need a temple, too, and they use beautiful little kimonos for children and they bless the children, and the temples are places for meditation because every human religion needs concretization. The Incarnation of Jesus Christ and what the Christian tradition has done with it philosophically has been an offense to the Jews because Judaism at its core is monotheistic and it has seen in the deification of the son an idolatry mixing with God Who is absolute and ultimate. But, as a matter of fact, if we could stick to the New Testament data itself, there should not really be a problem for Judaism, because they themselves also recognize the need for that concretization, something that you can get your hands around. Going back to the story of Moses, in that conversation on the mountain, God says, "Build me a sanctuary," the word that comes from the root word to mean holy. In other words, that which is set part. Create for me a sacred space. And do it in order that I may dwell in the midst of my people. And that word to dwell in Hebrew is really to pitch a tent, literally. And it’s very interesting that in Exodus in the founding story of Israel you have the tension that was within Israel’s faith all along. It is that tension between the need for the sense of the abiding presence of God and yet the refusal to say that God can become a permanent possession set in stone, that God can become domesticated by the cultic actions of a priesthood. The freedom of God to be there was always guarded in Israel, and yet, they understood that God would dwell with them and they needed that tabernacle in their midst, that tent. God would pitch God’s tent in the midst of the community in order that there might be a place for this Holy One Who was not just easily accessible, yet always there as a sign of the abiding presence of God, the constancy and the faithfulness of God, the God Who led them out of Egypt, the God Who would go through the wilderness with them, the God Who would bring them into the Promised Land. In the sixth century B.C. when they have been taken from their land and brought to Babylon and given up on God and lost their faith, some prophet comes to them and says, "Remember our founding story. Our © Grand Valley State University �Mystery Embodied Richard A. Rhem Page 3   God is a God who is mobile and light. He pitches his tent. He goes with his people. God is here in exile as God was there in Jerusalem and the temple." So, Israel, too, had that tangibility of God because we share with Judaism and Islam the idea of God as absolute Mystery, yet present in Spirit. But there is then this nuance that distinguishes Christian faith - it is that Mystery experienced spiritually is given a human face. It is that which makes Christian faith what it is. You could have a mystery and you can sense the mystery, but what is its nature? Or, what is the nature of God? It is so critically important that we have the proper conception of God because the God we worship will shape the lives we lead. Tell me who your God is and I’ll tell you the kind of person you are. And I want to say this morning that that Mystery in our faith’s story has been embodied because, just as God pitched a tent in the wilderness with God’s people, so according to the Christian gospel, John now, the first chapter, that word that was with God, that created intention of God, became flesh in the face of Jesus Christ. (Jews writing now, as Jesus was a Jew.) That God Who dwelt in the midst of the people in a tent that was pitched in the wilderness now pitched a tent in human flesh, for the same word is used. The word was made flesh and dwelt among us. It could be literally translated, "The word was made flesh and tabernacled in our midst." God went camping. God in the tent, now the tent being the shape of a human person. And there was no denying all of Israel’s faith from which this little Jesus movement stemmed. They said the Torah came through Moses. The gift of Torah was a gift of God, a previous gift of God. But, grace and truth came to expression in Jesus. And those words, the words behind grace and truth are two of the most beautiful words in the Hebrew Bible - hesed, steadfast love, limitless mercy, and emet - truth, but better, faithfulness to covenant promises. In Jesus, says John, the God of Israel has taken the shape, the human form that has communicated the glory of God. That which Moses wanted to see has now become veiled in flesh, a tangible concretization of the nature of that mystery that we cannot fathom but which in the good pleasure of God has taken a shape, then given a face. So, the nature of the mystery is love. That’s what a writer of the same Johannine circles concluded, the first letter of John, the fourth chapter. He says no one has ever seen God. That’s always the problem, isn’t it? "Just show us the father," says Phillip. "Show me your glory," says Moses. The writer says no one has ever seen God. But God sent Jesus Christ, and on the basis of the sending of Jesus Christ, what came to expression there is that God is love. And, he says, "The one who abides in love, abides in God, and God abides in that one. He does not say "Abide in God," because how can we abide in God? We can’t get a handle on that. What would we do, challenged to abide in God? But, to abide in love, to love one another, that’s tangible and concrete. I can do that. And then, does he say, given the love of God, God so loved us, then we ought to love God? No. God, having so loved us, we ought to love one another. And miracle of miracles, when we begin to love one another, on the basis of that revelation which says that God is love and therefore, having loved us, we ought to love one © Grand Valley State University �Mystery Embodied Richard A. Rhem Page 4   another, miracle of miracles, when we do that in relationship, in community, God is there! And the Mystery becomes experienced in a new and fresh way. And if you want one more marvelous text from II Corinthians, third chapter, Paul says that where the spirit of the Lord is, there is freedom, and we, beholding as in a mirror the image of that face, are being transformed into that same image through the spirit of God. You see, the Mystery has been embodied. The Mystery has a face and, beholding that face by the ministry of the Spirit of God, the breathing of the Mystery in us, we are being shaped into that same face. Because what the embodying of the Mystery is all about is to give us standards and norms by which to orient our lives. What the mystery of the Trinity is all about is very practical living. Beholding the face of Jesus and seeing therein that God is love, we are called to be a people who love, affecting therefore attitudes, determining our actions, suggesting those things to which we passionately commit ourselves. It makes all the difference in the world. This is our story. This is what it means to be in the Christian tradition. This is what it means to be in the Christian church. It is to have that Ultimate Mystery of things experienced somehow inwardly, shaped and defined by Jesus, and following in the way of Jesus. Then, I believe, according to my story, that I am living with the grain of the universe, that I am living out in the practical arenas of my life the intention of God, because God is love. And that love, that mystery having come to expression in Jesus, shaping me into that image by the Spirit of God, gives me a way to go, gives me a way to live, it shows me what my values must be, it shows me that to which I must commit myself, that about which I must be passionate. This is down-to-earth, practical stuff. What shapes our lives? What shapes our community? What kind of people are we? Are we people of love, people of grace, people full of mercy, people ready to forgive, people for reconciliation? Are we people who will love our enemies? That’s what being Christian is all about. And it’s all about that because in our story, that ultimate Mystery was embodied in Jesus who showed us the way. I don’t have any proof for that. I don’t believe it because the church teaches it. I don’t believe it because the Bible teaches it. I probably believe it because my mother and father believed it. I probably do believe it because I’ve found it here. I probably do believe it because my whole life has been lived in the Christian community. But, I don’t believe it because my parents believe it. I don’t believe it because the Bible teaches it. I don’t believe it because the church affirms it. I believe it because, by God, it’s true. © Grand Valley State University � https://digitalcollections.library.gvsu.edu/files/original/648d6748ccc272e0e395b7dbfcc67d5c.mp3 569377f95ccc4bbb05212fc3b20c426f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Contributor An entity responsible for making contributions to the resource Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Trinity Sunday, Pentecost III Series Aspects of God Scripture Text Exodus 25:8, I John 4:16, John 1:14 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context KII-01_RA-0-19980621 Date A point or period of time associated with an event in the lifecycle of the resource 1998-06-21 Title A name given to the resource Mystery Embodied Creator An entity primarily responsible for making the resource Richard A. Rhem Publisher An entity responsible for making the resource available Grand Valley State University Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Text Sound Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on June 21, 1998 entitled "Mystery Embodied", as part of the series "Aspects of God", on the occasion of Trinity Sunday, Pentecost III, at Christ Community Church, Spring Lake, MI. Scripture references: Exodus 25:8, I John 4:16, John 1:14. Divine Intention; Embodiment of Love Love Mystery https://digitalcollections.library.gvsu.edu/files/original/1eab3a2dff05956da121f64bf309a7bd.pdf 1d5d49c12b5d5c3f245412113582f322 PDF Text Text Mystery Experienced From the series: Aspects of God Text: Numbers 33:23; Hebrews 1:2-3; John 14:16-17 Richard A. Rhem Christ Community Church Spring Lake, Michigan June 14, 1998 Transcription of the spoken sermon Our religions are the consequence of creative human imagining in response to God’s revealing. God’s revealing, if it is revealing, indeed, meets in us now and then with awareness, awareness of the wholly Other, and of the Holy Other, of God, of the sacred, of the holy. The human experience has been that now and again, to this one or that one, there is some breakthrough, some awareness, some experience of that which is beyond human capability to grasp. Yet the experience, the awareness will always result in a stumbling, stammering attempt to give expression to that which was experience. And so, we have our human religions with our statements, expressions, articulations of the truth as best we can bring it to expression in light of our experience. Last week, celebrating Pentecost one week late, we said that the experience of the risen Christ, the living Lord, the foundational event of Christian faith was not the experience of the word in flesh, but rather, the experience of Spirit, the Spirit of Christ or the Spirit of God, the wind, the movement, the enlivening, creative movement that gives us an awareness of that intimate relationship with God, even though we can never adequately bring to expression that experience, but rather do so in human language, always limited, stammering and stuttering because we have been overwhelmed if we have met the living God. The Sunday after Pentecost, which really was last week but celebrated here this week, therefore tries to gather the experience of the Christian year, the cycle, on this particular Sunday. Four Sundays before Christmas we begin with the Advent season, the One who came is coming, the birth of Christ at Christmas, Epiphany, Lent, Easter, Ascension, Pentecost and the gift of the Spirit, and then on that next Sunday we say we believe in one God - God the Father, God the Son and God the Holy Spirit, one God blessed forever, in traditional liturgical language. We speak of God as Triune because we want to affirm that God is one. But, the experience of God is trifold, and on this Sunday we simply point to that Christian understanding of God as God the Father, God the Son and God the Holy Spirit, one God. © Grand Valley State University   �Mystery Experienced Richard A. Rhem Page 2   The early Church, the immediate followers of Jesus, did not sit down to construct a mysterious doctrine by which to bewitch and confuse us. And the early Church did not sit down to construct some mysterious idea of God that would confuse generations ever after. They did what all people do who have religious experience - they simply began to express what they had experienced. And the immediate followers of Jesus, in the wake of his crucifixion and resurrection, were Jewish people and they had no idea at all that they were talking about some other God than the God of Israel. They were now not switching their loyalties; they were not now conceiving of some other deity; they were not now leaving that covenant, faithful God of Abraham, Isaac and Jacob whose law came to expression with Moses, who had been spoken of by the prophets Isaiah, Jeremiah and all the rest. These were faithful Jewish people who were still dealing with the same God, but a God now Who had been experienced, strangely enough, in the life of that Jesus whom they had known. And then this Jesus was crucified but, in the wake of that, nonetheless, they experienced his presence, as I said a moment ago, not in the flesh. "The word was made flesh and dwelt among us." But, that was one thing. This other Easter experience was something else. It was God in the Spirit, Jesus in the Spirit. How do you give expression to that kind of mysterious, baffling experience? And yet, how can you be silent if you have had that kind of intimate experience of God? The writers of the Hebrews said in many and various ways to our forbears, "God made God’s self known. But in these last days, God has spoken to us by a son who, he said, is the express image of God." The word used there is icon, and if you have had any experience in the lush sanctuaries of Eastern Orthodox churches, you have seen icons, those paintings of the head of Christ or some symbolism of the Trinity or some saint. Eastern Orthodox piety and devotion has been conditioned to have its consciousness raised and its spirit elevated through the contemplation of the icon. Those of us that don’t know anything about it mock it and say, "Well, that’s idolatry. Even the Heidelberg Catechism said God will not be worshiped through pictures or dumb idols." Yet, there are those who, in contemplation of that icon, find themselves lifted into the presence of God; it’s a way of devotion or pious expression. The writer to the Hebrews says that Jesus was the icon of God, the express image of God. He couldn’t have said anything any more elevated of Jesus than to say that this Jesus in the flesh, the word made flesh dwelling among us, this one was the very picture, the image, the expression of God in human flesh. I return again and again to old John 14, but it’s so revealing of that early Christian community, trying to give expression to its experience. Now, don’t think of the disciples sitting around together at a campfire with Jesus in the midst. This Gospel writer was writing some sixty years later and probably reflecting the oral tradition of the stories and the conversations and all of that, and he said, "How can I say that this Jesus, as a matter of fact, was the unveiling © Grand Valley State University �Mystery Experienced Richard A. Rhem Page 3   of God?" And so, he pictures them in these middle chapters in John’s Gospel as a conversation with Jesus where Jesus is getting them ready for his departure "Let not your hearts be troubled. You believe in God; believe also in me," etc., etc. "In my Father’s house there are many rooms. If it were not so, I would have told you. I go to prepare a place for you," all of that nice language, and then Phillip who in the fourth Gospel plays the role of dunce, raises the questions that we all have but feel too self-conscious to raise. He says, "Oh, Jesus, I’ve really been wanting to say this all along. Just show us the Father and we will be satisfied." It’s what we all sigh at one time or another, don’t we? "God, if you’d just show yourself. If somehow or other I could just get a handle on it, just a glimpse, perhaps. Just a tickle in my pinkie." Jesus says, "I’ve been with you so long and you still don’t know. If you’ve seen me, you’ve seen the Father." This, now, is not what Jesus said. This is what they said he would have said if he had said what they know to be true. Do you get the difference? This was their experience, in his face there was God. We tell the story and we’re going to keep telling the story because somehow or other the God of Israel, the God of Abraham, Isaac and Jacob was there in that flesh, his face, the human face of God. And so, they who had known Jesus in the flesh knew him to be crucified, experienced him yet to be alive in the Spirit, talked about God and they talked about Jesus as the face of God, and they talked about the Spirit as the Spirit of God, and they had the "stuff" out of which subsequent generations in subsequent centuries put together using Greek philosophical concepts to say that God Who is Mystery has been known in concrete human flesh and continues to be experienced spiritually through a focus on Jesus who seems to bring up the depths of the mystery. Today I want to say that Mystery, the aspect of God is Mystery, but Mystery experienced, and Israel always knew that they didn’t know God in the depths of God’s mystery. And the Christian tradition which took the God of Israel and put the face of Jesus on the God of Israel and experienced the Spirit of God through the mediation of Jesus, the early Church tacked that nuanced adjustment and understanding of God onto the images and metaphors of Israel, and the images and metaphors of God for Israel were Ruler, King, more intimately Father. But, essentially Israel thought in terms of God as the Ruler "out there," "up there," engaged in their history and yet beyond their history, and they thought of God as getting directly involved in human events, although as an imperial ruler removed. That conception of God we speak of classically as "Theism." Judaism is theistic. Islam is theistic. Christianity has traditionally been theistic. A theistic © Grand Valley State University �Mystery Experienced Richard A. Rhem Page 4   understanding of God, even though we say it is a triune God, having been present in the flesh of Jesus and continuing to be present in the Spirit; nonetheless, God is "out of here," "up there," beyond us, traditionally. And our Christian understanding of God got attached to that kind of imagery, and the difficulty with that imagery is that it doesn’t connect easily with what we know about the cosmic reality of which our lives are a part. The Episcopal Bishop, John Shelby Spong, Bishop of Newark, has just written a book, Why Christianity Must Change or Die. Bishop Spong is courageous, if nothing else, and he dares to challenge that theistic image of God, saying that image of God is no longer adequate to express how we experience our world. He says theism has to go. Well, it will go kicking and screaming; it will go with great, great difficulty. I’ve been trying and trying for some time to divest my head of theistic understanding and I can’t do it yet, but I’m working at it. I got a letter Friday from Bishop Spong who said that in 1999 he has one full weekend available and he’ll give it to us. November 12, 13 and 14 of 1999, Bishop Spong will come here to help us to disengage from classical, traditional theistic conceptions of God. So, mark it down now. He will follow in the fall of ‘99, when in the spring of ‘99, we’ll have Marcus Borg here so that we can meet Jesus again for the first time. And maybe as we continue to work at this we might be involved in that advanced guerilla warfare that’s trying to find out how to say God in light of everything else we experience, because you can just import the old images and metaphors as long as you don’t want that God to be intimately involved in your day-to-day experience. As I said a moment ago, Israel knew that it didn’t know God. I think this is the point of that old story, Moses in Exodus 33 saying to God, "I know you’re angry with this people, but you know, if you’re not going, I’m not going." God says, "Relax, I’m going." Moses said, "Otherwise, how will the other peoples of the world know that we’re distinct?" You see, Moses was into exclusivism a long time ago. He wanted to be distinct. Don’t we all? We all like to be special. He said, "Well, one more thing, then - I’ll go if you go. You say that you’ll go, but show me your glory." God said, "Aha, Moses. I gave you my name, the Lord, Yahweh. I Am what I Am. I will be where I will be. I will be there for you. I told you my name, but my glory you cannot see. Moses, if I came bare before you, it would blow you away, it would destroy you. You humankind, you cannot countenance, you couldn’t stand, you couldn’t take in a raw exposure to my glory. Moses, come here and stand on a rock next to me. What I’m going to do, Moses, is I’m going to pass all of my goodness before you and I’m going to put you in a cleft of the rock, I’m going to put my hand over you and all of my glory will pass by, and when it’s passed, I’ll take my hand away and you can see my backside. Don’t even think about trying to see my face. Don’t even think about trying to take in the mystery. But, I’ll hide © Grand Valley State University �Mystery Experienced Richard A. Rhem Page 5   you in a cleft of the rock and pass by, and you’ll get a glimpse after I’ve passed by." Some of you who are older remember an old hymn, "He Hideth My Soul in the Cleft of the Rock" - "He hideth my soul in a dry, thirsty land and hideth my soul in the depths of his love and covers me there with his hand." The experience of God is that, in the experience of the terrors of life, we know that there’s a cleft in the rock and God’s hand protectively covering because more than that we couldn’t handle. And we can relax in the cleft of the rock with the hand of God over us, knowing that, as we stammer to try to say something about that experience, God will be just fine. God is not put in jeopardy when we start messing with the images and metaphors. If we should someday in the year 2005, after laboriously for seven or eight years working at this problem, if we don’t blow ourselves apart, and if we could do it rationally, if we could do it with a sense of security, with one another in dialogue, if we could keep talking about how can we say God in the 21st century, then maybe in another half dozen years or so we may stumble on a way of saying that will be much more in line with the world into which you graduates are all going. But, this is my prayer for you - No matter how the images, no matter how the metaphors are going to change, that you’d still be able to sing something comparable to "God hideth my soul in the cleft of the rock, in the depths of God’s love, places God’s hand on me there." Because it’s Mystery. Those that know an awful lot about the definition of God don’t know it all. And those who don’t know are on the threshold of wisdom, opening to the possibility of fresh experience. There were two fleas buried deeply in a forest of hair on a beasty. One said to the other, "Do you think there really is anything called Dog?" © Grand Valley State University � https://digitalcollections.library.gvsu.edu/files/original/0f02306e0d7a8778d9e7021b4823b1b6.mp3 43d9f0cb3795d0b46fa6d9f525eb2aac Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Contributor An entity responsible for making contributions to the resource Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Pentecost II Series Aspects of God Scripture Text Exodus 33:23, Hebrews 1:2-3, John 25: 16-17 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context KII-01_RA-0-19980614 Date A point or period of time associated with an event in the lifecycle of the resource 1998-06-14 Title A name given to the resource Mystery Experienced Creator An entity primarily responsible for making the resource Richard A. Rhem Publisher An entity responsible for making the resource available Grand Valley State University Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Text Sound Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on June 14, 1998 entitled "Mystery Experienced", as part of the series "Aspects of God", on the occasion of Pentecost II, at Christ Community Church, Spring Lake, MI. Scripture references: Exodus 33:23, Hebrews 1:2-3, John 25: 16-17. Mystery Nature of Religion Trinitarian https://digitalcollections.library.gvsu.edu/files/original/8c6751e1e19dddb047ed60397bfc5bf4.mp3 2b4158c043b4c57ef7b070d091553d38 https://digitalcollections.library.gvsu.edu/files/original/f18249fe9dc72d95801dae723075c1a3.pdf 47cf452e950ee7461b0177a581664366 PDF Text Text Mystery, Manifestation and Community Pentecost III Text: Exodus 3:2; Mark 1:11; Acts 9:3 Richard A. Rhem Christ Community Church Spring Lake, Michigan June 25, 2000 Transcription of the spoken sermon Reflect with me for such a few moments about what we have done here this morning, what we have experienced. In the tradition from which I stem, the church at its worship is to be marked by word and sacrament. That is, word which gives explanation and the sacrament which is a visible demonstration of the meaning of the word. As we reflect on that, we will be doing what the sermon is intending to do - to reflect on the sacramental action in order that we might be reminded again or that we might have clarified for us who we are and what we are to be about. Before I proceed, however, let me remind you that two weeks ago was Pentecost and we celebrated the Festival of the Holy Spirit and we brought to a close that approximately six-month cycle in which we go through those marks of the life of Jesus' birth and life and death and resurrection and the gift of the Holy Spirit on Pentecost. And then the Sunday following Pentecost is Trinity Sunday in the calendar of the Church, because at that point we are ready to reflect or to realize, perhaps, as never before the Trinitarian structure of our religious experience, that that Ultimate Mystery not at our disposal, that Ultimate Mystery that we call God, does break in or emanate from, become apparent to the likes of us in the arena of history. The Ultimate Mystery shows itself in some historical manifestation and that historical manifestation becomes the agent by which the mystery is revealed, at least to some extent, and a believer is engaged by the Spirit, for to look at that manifestation, some say "I believe," and others would say there's nothing to it. But, to look at that manifestation ... for example, to look into the face of Jesus and say, "My God," the Church has always recognized is the consequence of the Spirit of God; it is the gift of God. God reveals God's self, and so there is Ultimate Mystery, historical manifestation, and the concrete encounter of the individual, the believer who has the epiphany, who sees, who experiences the illumination. Sometimes that illumination results in a message and a mission whose consequence is a community, a movement, a community of faith. Sometimes even a religion is born. But at this point on the Church calendar, we can see the trinitarian structure, not only of the nature of God, but the trinitarian structure of our own religious experience, an ultimate mystery, a manifestation of history, a © Grand Valley State University   �Mystery, Manifestation and Community Richard A. Rhem Page 2   believing person through the Spirit who may become the nucleus of a community of a whole religious tradition. I selected the scriptures I read in order to demonstrate that that is exactly what was going on with Moses. Moses, brooding in the wilderness, tending sheep. I love Chaim Potok's description of this moment in Moses' life. It's in the insert in your liturgy. Read it this afternoon. It takes a novelist to tell you what the Bible is all about, really, a great writer like Potok. You may say, "Well, he psychologizes that experience of Moses." Yes. How else? How else does it happen? Of course, and Chaim Potok is using his imagination, to be sure, but I think it's so moving, so powerful. There's Moses who has been raised with the knowledge that he is a Jew, but in the court of the Egyptians, lashes out in an heroic act or a dastardly act of murder, and flees from justice. He is in the wilderness tending the sheep with too much time on his hands to rummage it around in his mind – the gods of Egypt, slavery, murder, all of that - must there be some other god? Must there not be some other truth? And then one day a bush is burning and is not consumed and he hears a voice and it becomes a holy place, and Moses becomes the historical referent of that ultimate mystery and from Moses stems the nation Israel and the Torah whose roots are in Abraham and Isaac and Jacob and whose consequence is the history of Israel. Ultimate Mystery. Moment of manifestation. Community, religious community flowing therefrom by the Spirit of God. It was no different for Paul. Paul, restless, serious, cantankerous, passionate, urgent, on the way to Damascus to stamp out that Way, maybe unconsciously because he felt it was such a powerful way, this way of Jesus, only to be blinded with light and turned around in his tracks, becoming now not the one who was out to arrest the followers of the Way, but the one who took that way and understood it after three years of meditation in the desert, understood the way of Jesus as Judaism for the Gentiles, who understood the way of Jesus as the universalizing of that which was intrinsic in Judaism, even though Judaism had been particular and local. Yet, Paul could see Yahweh was not a tribal God; Yahweh was the creator of the heavens and the earth. There was no other God. Therefore, in Judaism itself, in its particularity, in its understanding of the one true God, Creator of heaven and earth, was the invitation to the whole world. The grace that Israel knew was for a world, and Paul becomes the great founder of the Church. Of course, it was with Jesus the same way, not really so different. When he joined the Baptist Movement, when he was baptized with John the Baptist, he was joining a revolutionary movement that was looking for the imminent incursion of God. He was looking at the horror of the historical situation, the poverty and the homelessness, the domination and the oppression and, in identifying with John the Baptist through his baptism, Jesus was identifying with that movement of social criticism that believed that somehow or other if God was just, God would have to do something. And he hears a voice and in the hearing of a voice, he gains identity and a mission, and he is driven out into the wilderness forty days and forty nights. "Who am I? Whence the voice? What is this all about?" And from © Grand Valley State University �Mystery, Manifestation and Community Richard A. Rhem Page 3   Jesus comes Paul, comes you and me, the community of faith that moves from that historical encounter with the word made flesh, who had face for the heart of the Eternal. So, you see, that simply is the nature of religious experience. I marvel sometimes at my naiveté. I sort of always knew that there was this trinitarian thing, that God revealed God's self in Jesus and illumined our eyes by the Holy Spirit, binding us to Jesus who bound us to God. I knew that was a gift; I knew that was a revelation. But, I thought that it was the only true revelation and, if it's the only true revelation, you see, then anybody else who had a revelation has to be wrong. Then I came to see that every religion claims a revelation. There's no religion where someone sat down and said, "I think I'll think up a new scheme of things." Mohammed had a vision resulting in the Koran. The Buddha had his pilgrimage and experience and illumination. Moses did. I even had to say in my naiveté that Moses, who was the historical agent of the Jewish faith and the tradition of Israel, wasn't understood by Moses' own people, because they didn't read it through the eyes of Jesus. I had relativized the Old Testament. I even had to claim that the Jewish people didn't understand their own book. Is that arrogance? It certainly was ignorance. Now I can see the trinitarian structure of all religious experience, and I want to say that every community claims its story and every community that develops because of the authenticity of that story, that experience, develops its rituals and its sacraments, and every such community has a mark and that is what we did this morning at the baptismal font in the name of the Father and the Son and the Holy Spirit, baptismal water prayed over for the Spirit's movement, placed on the forehead of infants as a sign that they belong. We've all been baptized and that's what marks us; it is our union card, as it were. And then we came to the table because a community, to be a community, to have an identity, a sense of who it is, needs to commemorate, needs to come back again and again to its founding story, needs to come back to the table of our Lord, a table of Jesus where bread is broken and the cup is poured out as a sign of the violent death that this one experienced because of the way he lived, of the way he was, of the manifestation of God that he was. So we come back to this table in order that we might remember Jesus, in order that we might have fresh in our minds that face that reflects the mystery, the ultimate grace and love of God at the heart of things. The sacramental character of the Church. We could use different symbols, different materials, we could enact it differently, but what we do has long history and deep meaning, and I want to say just two things in closing. One is that that is our way. That is a way. That is not the way. But, because it is not only a way, and our way, it becomes for us the way. Why should I play fast and loose? Why should I treat with nonchalance, why should I accord lack of importance to that baptismal font and that communion table just because it is not the only way? Because it is my way, and if it is my way, it is the way. While I look at another © Grand Valley State University �Mystery, Manifestation and Community Richard A. Rhem Page 4   who walks another way but experiences a similar grace, experiencing that ultimate mystery that is known here in baptism and in table and in preaching and in sacred dance, hear me again - our Christian way symbolized in baptism and table is a way. It is not the only way. But, since it's our way, for us, the way, and it's full of grace and wonder and beauty, and I love it very much. Then, I would say this, although it is not the only way, although it is one way, if it is good and true and beautiful, then it is worth the passion of my life to keep the community that has grown up around it alive and healthy. Then it is worth the engagement of my life to keep a community like this alive and well, with a strong sense of identity, knowing its tradition, loving the life to which it is called. If it is my way, if it is for us the way, then it deserves the passion of our lives. We've had a lot of funerals here lately and just last Sunday in this place we buried Betty Hofstra, 88 years, a beautiful saint of God. She was the fourth generation, the daughters and grandchildren and the great grandchildren. And because it was Sunday and they didn't open the grave, nonetheless, I went to the cemetery with the family and there, particularly the fourth generation, the little ones took yellow roses and stood around the gravestone where Great Grandpa Oscar was marked. It was a beautiful experience with beautiful children remembering their Great Grandma in the presence of the grave of their Great Grandpa, sanctified by prayer. How else do you give sanctity to human life? How else do you celebrate the death of a saint? How else do you give adequate value to a newborn? At the moment of birth at the gift of a child you want to pray, you want to sing, you want to dance, because life is pregnant with the holy if only we have eyes to see, if only we pause long enough, if only some place along the way there is a community of people with whom we can join in order to celebrate birth and death and the commemoration of the heart of our story. It's been quite a weekend. I married a daughter, baptized a grandson whose father I baptized, and as we speak, a sister is being operated on in emergency whose consequence will be serious cancer, I'm sure. Now, how do you do that unless there is a God before whom one can kneel, before whom one can pause and be still, before whom one can know that ultimately all is grace and all will be well? Why in the world, if this is a way, even if it isn't the only way, need I treat it nonchalantly? Should I denigrate it? Why can I not be passionately engaged in it because it's not the only way, but, by God, it's good. It's good. © Grand Valley State University � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Contributor An entity responsible for making contributions to the resource Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Pentecost III, Father's Day Scripture Text Exodus 3:2, Mark 1:11, Acts 9:3 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context KII-01_RA-0-20000625 Date A point or period of time associated with an event in the lifecycle of the resource 2000-06-25 Title A name given to the resource Mystery, Manifestation and Community Creator An entity primarily responsible for making the resource Richard A. Rhem Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Sound Text Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on June 25, 2000 entitled "Mystery, Manifestation and Community", on the occasion of Pentecost III, Father's Day, at Christ Community Church, Spring Lake, MI. Scripture references: Exodus 3:2, Mark 1:11, Acts 9:3. Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives Community of Faith Inclusive Spirit of God https://digitalcollections.library.gvsu.edu/files/original/6b9380d9f151674aab6496812d91858d.pdf cf5e0cee8926ae7ab201596357bb60a3 PDF Text Text Mystery’s Face and Flow Trinity Sunday Text: Job 23:3; 11 Corinthians 4:6; and, John 14:9 Richard A. Rhem Christ Community Church Spring Lake, Michigan May 25, 1997 Transcription of the spoken sermon It is Trinity Sunday; the Sunday after Pentecost, and it's the time when we focus on God. It is God Who brings us together week after week, and we have many things about which to think and speak together. On Trinity, however, we go right to the core, to God, and to focus on that conception of God which has been shaped by the Christian tradition and has, indeed, shaped the Christian tradition, that conception of a Triune God, God the Father, God the Son, God the Holy Spirit, One God blessed forever. God in the modern period has become a problem, and although high percentages of people affirm their faith in God, in the intellectual centers of reflection and deep thinking that eventually impact popular opinion, God has had hard times in the last two or three centuries. We no longer simply take for granted the existence of God, and the nature of God has been thought about a good deal. The religious quest will always be there. But, God has become a problem. That statement of the problem was probably set forth as profoundly and as critically as anywhere by the German philosopher Ludwig Feuerbach. You've heard me refer to Feuerbach, on occasion, over the years, because his critique of the idea of God goes to the heart of the matter. It is his idea that God is the projection of our human needs unto the screen of reality, after which we bow down and worship, that God is the consequence of human need and that God is a human construction or a projection. It is certainly true that when we ask about God, we are asking about ourselves. The questions about God are really questions about our own existence. Whence have we come? Whither are we going? And in the meantime, what is the meaning of it all? Is there any purpose? Is there any direction? The human situation is fraught with peril. We are threatened creatures; our human existence is perilous. At any moment we well know that we could be wiped out. We stand at the side of those we love, helplessly seeing them die. We, ourselves, are vulnerable to a medical diagnosis at any time that could be fatal. The human condition is one of contingency; it is a perilous life we lead, and the religious quest is quite a natural quest after some anchor, some place to stand, some place of comfort, some place to rest the soul. And so, when Feuerbach said © Grand Valley State University   �Mystery’s Face and Flow Richard A. Rhem Page 2   that God does not exist except as we have created God and objectified God and constructed God out of our own human needs, he was putting his finger on something that was true. He was roundly criticized, of course, and the Church rose up with great defensiveness at such a suggestion, that God is a human creation. Feuerbach, nonetheless, had looked at the human person and the human situation, had sensed the fearfulness and the anxiety and the fragility of human existence and detected within the human person a kind of weakness that longed for some strong source of support and comfort and strength. Feuerbach's mistake, which is a mistake all of us often make, was to absolutize his claim, that is, that God is nothing but... To say that God is nothing but the projection of human need is to say too much. But, his insight is telling and you must be aware, as I am, of that which goes on in your own soul and heart and you must observe as I do all about us those for whom God is a crutch, a safety blanket, a security measure. God, for many of us, is the God we need. But, that's not all there is to say. I point that out because we are downstream from that movement of modern atheism. From Feuerbach came Freud who said that religion is an illusion, Marx, who said that human life is nothing but economic determinism, Nietzsche, who said all is nothingness. The nihilism that is laced within contemporary society is the consequence of that conception of things that has ruled out God, that conception of a Feuerbach who saw so much of human need projected into God that he simply wiped God away. But, as Nietzsche said, God is dead, and everything is permissible. And I would say that the 20th century is probably a good example of the fact that, when God is dead, anything is permissible, and very soon the fabric of society begins to unravel. Karen Armstrong, in her lecture a couple of weeks ago, spoke of the future of God, and she alluded to the contemporary atheism that pervades the lives of so many, even though they might answer a Gallup Poll, "Oh, yes, I believe in God." But there exists a practical atheism, living without any engagement or any regard to God. Karen Armstrong, said we are in one of those periods of history when we are simply waiting in the darkness for some future image to arise. But atheism, she said, is not to be feared, for it is not a rejection of God, but it is a rejection of inadequate conceptions of God. And so, we are in this present darkness, waiting, confident that there will yet emerge that understanding of God that can call forth from us worship and commitment to the ways of love and of justice. We have had inadequate conceptions of God. We have archaic, naive and primitive ideas of God, which we have not updated with everything else that we know in our world. With all of the explosion of knowledge, we have not done much with our idea of God. Yesterday it was a nice day and I was beckoned out of the loft to contemplate God. I went out on the bluff to soak up a little sunshine, thinking that I could think there or not think at all there, and lo and behold, God got me there, too, for © Grand Valley State University �Mystery’s Face and Flow Richard A. Rhem Page 3   as I sat down there was a little table in front of me, one of those little, low tables. It was made of slats of wood and those slats of wood had little spaces between them, and as I contemplated the table, there was an ant. So, I will now tell you the story, "The Ant and I." The ant went all the way up one board to the corner, and then he made a left turn and went down the short side and got to another corner, came all the way down the long side, came to the corner, went up the short side. And I thought, "Now, what will you do? You've been all the way around the perimeter. Now, what will you do, little ant?" He did it all over again. Got to every crisis point, made his turn, in his case, always the left turn, and got back to the starting point. And then one time, as I was about to drift off, he came to the edge and he went down and he found the supporting board underneath which created a bridge for him to get to the next board. He came up on the next board and then he went all the way down on the board, across, all the way up, down, and he did that several times. And I thought, "You know, ant, you ought to give me some interesting plot to follow because I don't have time just to watch you continue to traverse all these boards." But, then I realized that God had placed me there in order to contemplate God, not the ant, for my contemplating the ant is that old image of God that we've grown up with that has come to us out of an ancient past where there was a heaven and an earth and the waters under the earth, the three-storied universe, where God was a being on the throne "out there," in heaven somewhere, and we were here, and God, although totally apart from us, would come down into our history and affect circumstances and then return back to heaven. I thought to myself, if I contemplate the ant, I am like that childhood idea of God which I had. Here I am, totally unengaged, just a spectator, observing. Now, I thought to myself, I could take a piece of dune grass and I could wiggle it in front of the ant, seeing whether or not I could influence the pattern of its peregrinations. But, I didn't do that. Then I thought to myself, I could crush that bugger! But, I didn't do that. And then I thought, I could help him. I could save him; I could redeem him from his dilemma. He is on the surface of a table and the poor dear really is trying to find the sand. He's trying to find the sand where there is sustenance, where there is community, where there is home. He's trying to find his brothers and sisters. I could actually pick him up and put him down on the sand. I didn't do that, either. When I left him, he had gone down into one of those deep valleys between the boards, he was down on that foundation piece which probably was a deep, dark valley of the shadow of death for him. I was half-tempted to pick him up and put him down, but I thought, "No, I think I'll just leave you there." Then I thought to myself, "I am like my old image of God, sovereign, absolute. I can do what I will with that ant. I can crush the ant. I could redeem the ant. I could observe the ant. I could get engaged with the ant. But, I'm totally apart from the ant, even though I have the prerogative of getting involved with it, but I live a separate existence far superior and beyond the ant." © Grand Valley State University �Mystery’s Face and Flow Richard A. Rhem Page 4   That's the God I learned in Sunday School. How about you? And then I thought to myself, "That isn't the God that makes sense of my universe at all today. That's not how I understand human existence, the world, the cosmos." Oh, I understand how that old system worked and if we wouldn't be literal about it all, it would still work for us because it tells us, according to Paul, of God Who said, "Let light shine out of darkness." In other words, the Creator God Who, in the fullness of time, shined into our hearts the light of the Gospel of the glory of God in the face of Jesus Christ. And Paul, in his writing to the Corinthians, was talking about the fact how we even look at that mirror of Jesus mirroring God, and how we, as we contemplate that image, are changed into that image by the Spirit of God. So, I see what Paul meant. In the biblical material, I can understand that God, the incarnation of God, the Spirit of God shaping me into the image of that incarnate One according to the purposes of God. Or, as John witnessed, really quite simple. Jesus said, "I'm going to leave you." Thomas said, "We don't know the way." Jesus said, "I am the Way. I am the Truth. I am the Life. No one comes to the Father but by me." Phillip said, "Ah, I've been wanting to talk to you about that. Just show us the Father and we'll be satisfied." It's that deep longing. I don't sense that Phillip was in any particular crisis. Job was in a crisis! Job said, "Oh, that I knew where I might find him!" In the midst of his burning anguish, Job was in a crisis, with the problem of suffering and of tragedy in the world that has wrenched that cry out of the human heart down through the centuries. Phillip? Phillip's just, well, still longing, though. He said, "Just show us the Father. Oh, if I could just know, if I could just see." Jesus said, "Look, how long have I been with you, you still don't get it. You see me, you see the Father. There's no other access. There's no other map. There's no other possibility except as you behold God in my face." So, Paul saw God in the face of Jesus. John saw in his witness to Jesus, God in the face of Jesus. I can understand that. But then, as I was thinking about the inadequacy of my King of the Universe model over against the ant, I realized that that old model wouldn't work anymore, because that table is not just a thing. That table is dammed up energy, because we know that for 15 billion years it has been a cosmic river of energy expanding time and space as it moves, and we know that that table is simply energy, for a time coalesced, gathered into material, but that material can as well be transferred back into energy because energy and matter are interchangeable; they're all one reality. It is not as though I have a life other than that ant; the life of the ant is the life in me, as well. It is God's Spirit, God's breath that enables the ant to live and me to live, and I am just a cut above © Grand Valley State University �Mystery’s Face and Flow Richard A. Rhem Page 5   the ant in that I am conscious of the ant and the ant is not conscious of me, but consciousness is that uniquely human capacity. But, the human, although having that consciousness, that self-awareness, that ability to observe the process, is not apart from the process, for that table and that ant and my body are all one reality, and all of it alive because of God. Nothing exists except God's Spirit, God's breath, God's enlivening presence. So, I have to do away with that old King model of a God, "out there" ruling, some sovereign Absolute Who can dip down, Who can save or damn. I have to get God, somehow or other, into the reality of my world, to see that my world is because God's breath is or God's Spirit is, and behind and beyond that cosmic drama there is a mystery, a mystery that we cannot fathom, that totally Other, that wholly Other, totally transcendent, Ultimate Mystery that is the Source. I don't know how to say anything more. And even to say that is an article of faith. There's no empirical proof that there's any Source! But, I cannot believe the marvels and wonders of the cosmic drama, except I think of a fountain of creativity that continues to pour forth and that the cosmic drama itself continues to be laced with that creativity as that develops in all of its diversity in a thousand directions with possibilities unlimited. But then, I think to myself, "So I have an Ultimate Mystery. But, what is the nature of that Mystery other than a creativity. And I have a cosmos of tables and chairs and bricks and bodies and everything existent, and all of that diversity what does it mean? What is the nature of the Mystery? And what is the meaning of the manifold diversity of my reality? And then I see a face. I see the face of Jesus. And suddenly I'm back at an old Triune God. Suddenly I see the Trinity with new eyes. Suddenly I see the Ultimate Mystery totally hidden from us, but totally present in all that is, defined in a face, the face of Jesus. That enables me to have a sense of the nature of the Mystery, to sense that that Mystery which is creativity is driving things toward an order of love and justice, because if that face, that representation in history, that concretization, that incarnation - if that incarnation of Jesus is really a reflection or a mirror of the Mystery, and as I reflect on that reflection in the face of Jesus, if I am being thus shaped like Jesus, then perhaps it is the intention of that whole cosmic drama that there be those who be human who are thus shaped, who are joining in those currents that lead to justice and to love. Suddenly I have a three-pointed God again. I have the Ultimate Mystery, the Source of it all; I have the enlivening presence of God in all that is, and I have a definition, I have a specificity, I have an image, an icon, a concrete shape that calls me to meaningful living. The way of Jesus. The way of justice. The way of compassion, moving, moving, I trust and hope, to the Kingdom of God, Shalom, the Cosmic Harmony in perfect pitch. © Grand Valley State University �Mystery’s Face and Flow Richard A. Rhem Page 6   Now I have a sense of my whence, although I cannot penetrate the Mystery. I have a sense of my aliveness, thanks to that breath, wind, Spirit that's been flowing now for 15 billion years, and I have a marker, I have a way, I have a face, and it's because of that face that we gather here, lost in wonder, love and praise, before the Mystery, and go out of here to live a certain way. My economic decisions are not just economic decisions. They are economic decisions that I make in light of my call to follow Jesus. My political decisions are not just arbitrary political decisions; they are decisions that I make in the light of the face that I see. The total way that I am is not arbitrary. It is a way of commitment, following the one whose commitment led him to death and resurrection, by the Spirit, moving, moving toward that final Kingdom. In the light of all that we know about that cosmic river of energy that now and again is dammed up into material stuff like chairs and tables and bodies, I can't believe that, caught up in that process, I still need three points of light, or a Triune God, or a God creatively present, concretely representative of that life to which I am called. The Church is a place where we gather where all lobbying ceases, all selfish ambition comes to an end, all personal advantage ceases as we commit ourselves to the cause of the Ultimate Mystery Whose clue we've found in a face. It's just as simple as that. © Grand Valley State University � https://digitalcollections.library.gvsu.edu/files/original/f5ee153b1d90bcd0f4e5fe453500b75f.mp3 f8469e813eebb54263761fe5fcf98317 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Contributor An entity responsible for making contributions to the resource Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Trinity Sunday Series A Cosmic Symphony Scripture Text Job 23:3, II Corinthians 4:6, John 14:9 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context KII-01_RA-0-19970525 Date A point or period of time associated with an event in the lifecycle of the resource 1997-05-25 Title A name given to the resource Mystery's Face and Flow Creator An entity primarily responsible for making the resource Richard A. Rhem Publisher An entity responsible for making the resource available Grand Valley State University Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Text Sound Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on May 25, 1997 entitled "Mystery's Face and Flow", as part of the series "A Cosmic Symphony", on the occasion of Trinity Sunday, at Christ Community Church, Spring Lake, MI. Scripture references: Job 23:3, II Corinthians 4:6, John 14:9. Justice Love Mystery Nature of God Religious Quest https://digitalcollections.library.gvsu.edu/files/original/7902f2b2a02d951d2715aaf7301e86c1.jpg 81ccba302c28b302922a4e0eb6dcaa63 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_M4321 Title A name given to the resource Nachi class heavy cruiser Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource Nachi class, Japanese CA (heavy cruiser), January 15, 1945. Subject The topic of the resource United States. Navy World War, 1939-1945 Japan Military education Warships--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1945-01-15 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/b0aba22977f3d26fdd5a1e9d87049fa6.jpg c0dc14eb8c81ab4cfb001610827d61ce Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-04 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-50_M4322 Title A name given to the resource Nachi class heavy cruiser Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource Nachi class, Japanese CA (heavy cruiser), January 15, 1945. Subject The topic of the resource United States. Navy World War, 1939-1945 Japan Military education Warships--Recognition Slides Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1945-01-15 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/4dc2957f4eb15c863ad009c36e2a3675.jpg ded11b3c9a7c3bc9da7c882d534021ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context NadonJohn Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Nadon, John Description An account of the resource John Nadon, Visiting Artist Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/a922723d7ed0ef4967c134e30c15aa5e.mp4 9c42bc1f6989e69adc915bc2b7c5cc3c https://digitalcollections.library.gvsu.edu/files/original/7c6ad7a6eaf6c3af3e8f3f4f5578a39d.pdf 344998a2216c4ba4139591be6f0dd0ba PDF Text Text Grand Valley State University Veterans History Project Interview Name of War: Korean War Name of Interviewee: Sherwin Nagelkirk Length of Interview: (01:39:36) (00:20) Background Information • • • • • • • • • Sherwin was born in Zeeland, Michigan during the Depression and lived with his grandparents for 9 years while his father worked on their farm In 1940 his father felt well off enough to buy his own farm and they moved near Grand Haven, Michigan It was a very old house with no running electricity and they had to boil water to heat it Sherwin began working on his uncle’s farm after he graduated from high school In July of 1951 Sherwin got a job working for American Seating Company, but should have continued working on his uncle’s farm He had not realized at the time that working on a farm was preventing him from being drafted About one month after he quit working on the farm he received a draft notice from the Army Sherwin had been engaged when he was drafted and it was very hard for him leaving his fiancée and his family Sherwin was inducted in Lansing and then was sent to Fort Custer in Battle Creek, Michigan for more physicals and paperwork (7:15) Basic Training • Sherwin was sent to Fort Riley in Kansas where he spent 16 weeks going through basic infantry training • Training was not hard for him because he had grown up on a farm and had it pretty hard as a kid • He also did well with rifle training because he had spent much time hunting • Sherwin did not enjoy night maneuvers and felt pretty lazy by that time of the day • One night while they were on maneuvers he hid from everyone till it was very quiet and then snuck back in the barracks when everyone was sleeping (14:00) Overseas • The men were sent to Oakland, California and later received their orders that they were to be sent to Korea �• There were about 3,000 men on the ship, a converted luxury liner • The trip took 14 days and 4 of them they were in a terrible storm that made everyone sea sick • To make things worse they all ate bad turkey one day and had food poisoning • They landed in Yokohama, Japan and made their way towards camp near Tokyo • They later took a different ship to Inchon, Korea (18:50) Korea • They men got off their ship and made their way through the streets of Inchon while children begged them for food • They took a train quite a ways and then loaded onto trucks; all the time they were traveling it was freezing cold with no heat • Sherwin was assigned to the 25th Infantry Division, 35th Regiment, Fox Company • He was quickly started on guard duty and worked also on digging trenches near outposts to keep in contact with the line • Once the trenches were dug they practiced firing M-1s and BARs (28:30) Heartbreak Ridge • Sherwin often worked on guard duty at night near the outposts • It was always very cold and snowing all night long, almost too cold to be outside • The men would trade working one hour and then have one hour off so that they would not get sick or frost bite • About 6 weeks after arriving in Korea they moved into a reserve area for more training and were then assigned to work at Heartbreak Ridge • Upon arrival they could tell that there had been a massive battle in the area because there were stinking body parts sticking out all over the ground • They only worked at night and were carrying many logs to build traps and set up areas for machine guns (38:50) Wounded • Sherwin was a corporal and he and his men had been ordered to build a new outpost on July 4, 1952 • There were about 6 men assigned for the job; some were to work while others stood guard �• Sherwin kept hearing noises and called out to whoever was coming • His sergeant was alarmed when no one answered and threw a grenade towards where the noise was coming from • Moments later another grenade was thrown in between Sherwin’s feet and went off • It was a poorly built Chinese grenade, so he was not mortally wounded • His men began shooting and there were mortars going off everywhere for a while • Eventually the enemy fire ceased and Sherwin was brought near the line to see a medic • The medic told him he would have to be evacuated and he was brought to a field hospital • Sherwin enjoyed being in the field hospital because he got to take a shower every day and wear clean clothes • 5 days later he was told he would have to go back to the line because they needed his cot for men that were wounded more severely (47:50) New Position • The men were given a new position across from the front line • They later had a presentation and Sherwin was awarded a silver star • They were staying in bunkers behind a large hill and it was raining constantly • Later the men had to travel about 5 miles along side a mountain and there was a strange liquid oozing out of the ground the entire way • Sherwin believed it was from all the rain mixing with the buried bodies (57:00) Kojido Island • The men were relieved of their positions on Heartbreak Ridge and sent to Kojido Island where all the prisoners were being kept • They took trucks and stopped on Pusan before boarding a ship to be sent to the island • They island was very far away from the Ridge and the weather was completely the opposite; nice and warm • Sherwin spent time watching over the prisoners while they were on work detail • After he left there was an uprising and fight between the Chinese and Korean prisoners so they had to keep them on separate islands • Sherwin later had R & R in Japan and flew there in a plane �• The city he visited was very crowded with people driving cars, trucks, and scooters; no one ever used the breaks but were always using their horns (1:08:25) Moving North • They left the island and moved North through Korea • It seemed like they were in no hurry to get to their location because they were making many random unnecessary stops • They continued North and it was getting very cold; they always had to sleep outside • The men were only allowed a certain amount of kerosene per tent for heat • One of Sherwin’s friends stole some extra kerosene and he was later demoted and court marshaled • A few days after reaching their destination Sherwin received orders in the middle of the night that he would be going back to the US (1:18:45) Back to US • Sherwin and a few other men took some trucks down towards the coast and later were in Sasebo, Japan • They loaded onto a ship and this trip took 18 days; they landed in Seattle in the middle of the night • There was a welcoming ceremony for them the next day and it was all very exciting • Sherwin took a bus through Washington and then a train to Fort Custer • He had a 30 day furlough, but still had another 3 months to serve • Sherwin was then sent to Fort Sheridan in Illinois where he was ordered to a small base to watch over Chicago for unidentified flying aircraft • He did not like the men he was working with; they were all very lazy and at any given time about 25% of them were AWOL (1:28:10) Discharged • Sherwin was “released” from the Army, but not yet discharged • He got married on August 13, 1953 and had had 3 children by December 1956 • He then received a letter from the reserves noting that he was “no longer available” for service because he had too many dependants • Sherwin was finally discharged in 1959 �• He began working for American Seating Company again and retired 38 years later � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context NagelkirkS Title A name given to the resource Nagelkirk, Shewin J. (Interview outline and video), 2009 Creator An entity primarily responsible for making the resource Nagelkirk, Shewin J Description An account of the resource Sherwin Nagelkirk was born in Zeeland, Michigan and lived with his grandparents growing up during the Depression while his father worked on their farm. Sherwin was drafted into the Army shortly after graduating from high school in 1951. He went through basic training at Fort Riley in Kansas and then received orders to go to Korea. Once in Korea Sherwin was assigned to the 25th Infantry Division of the 35th Regiment, Fox Company. He was wounded in the Heartbreak Ridge sector, where he won a Silver Star. He later worked on guarding prisoners on Kojido island. Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings Korean War, 1950-1953--Personal narratives, American United States. Army Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-16 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/15bed5bb3811867abfb16750b09548d9.mp3 d2da8c60105b541e853cff0537e1ea64 https://digitalcollections.library.gvsu.edu/files/original/95d666a7c26a01dcc7fa10ec2104d233.pdf b4ecab4a52949cab17bc07807b7b9545 PDF Text Text Nancy Crean - Interviewed by Nathan Neitering June 6 2018 1 Nathan Neitering: Uh, this is Nathan Neitering, and I’m here today with Nancy Crean at the old schoolhouse in Douglas, Michigan on June 6th 2018. This oral history is being collected as part of the Stories of Summer Project, which is supported in part by a grant from the National Endowment for the Humanities Common Heritage Program. Thank you for taking the time to speak with me today, I’m interested to learn more about your family history and your experiences of summer in the Saugatuck Douglas area. First, can you please tell me your full name and spell it? Nancy Crean: It’s Nancy Crean, C R E A N. NN: Okay, and your maiden name? NC: Pandel. P A N D E L. NN: Thank you very much, um, so first, tell me about where you grew up? NC: I grew up in Chicago. On the south side, very close to um, South Shore Country Club, Museum of Science and Industry, so I spent part of my summer at the beach in Chicago, and the other part of my summer here in Saugatuck at the Oval Beach. NN: Awesome, always on the beach. NC: Always on the beach. NN: [Laughs] Um, and did you have any siblings growing up? NC: I have one brother, and his name is Bob Pandel and he did basically the same thing as me other than he played sports. NN: Okay, alright. Um, do you remember the first time you came to Saugatuck? NC: Probably not because I was probably about 3 months old. NN: Okay. NC: [Laughs] NN: Then…. NC: …First memory? NN: Yeah, first memory. NC: First memories would probably be about 6 years old. NN: Okay. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 2 NC: So I came up with my family and we would come up every weekend starting in April all the way through November and we would spend two full weeks here during the summer when my, my dad had vacation, and we had a friend across the street, Mark Francis and the three of us would just play ball, we’d ride bikes, we’d play in the golf course when we weren’t supposed to. We would steal the golf balls off the fourth hole and watch the people look for them. Um, we, as we got older we met other people in town and we would do things with them, mainly playing like baseball or whatever. And later on going into town and hanging out in the middle of the street when they would close down the town, with the college kids. NN: Um, so you said you have a brother do you have any children? NC: I have two children, two girls, Jennifer and Kelly and they both came here from the time they were born also. We spent more time here because I was a teacher, so I was able to come you know for weeks at a time during the summer, so they were able to enjoy a lot more things than we were. And I have grandchildren who also do the same thing and they were very lucky because they could spend just as much time, but they got to enjoy you know the arts and the swimming and the sailing and everything else, you know because we did more things then. NN: Right, wonderful. Okay, so take me back, were step back for a second. NC: Okay. NN: Tell me how and when did you family first come to the Saugatuck area? NC: Um, my father had hay fever and so they used to go up to Petoskey for some reason it was better up there and they would stop here in Saugatuck on the way because they had some relatives here and eventually my grandfather and grandmother decided to buy a home here in 1930 and they settled here and they did have friends and relatives that lived here [pause] for the summers. So I think that’s what brought them here. NN: Wonderful, and what were your grandparents names? NC: It was Frieda and Rudolph Pandel. NN: Okay, and your parents’ names? NC: My parents’ names were Ernest and Ada Pandel. NN: Very good, thank you. Um, and so it sounds like, it kind of became a family tradition to come to Saugatuck. NC: Very much so. NN: Yes. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 3 NC: Very much so, everybody loves it here and we have absolutely no intentions of selling the house or anything. The kids don’t want to divide it up, they want to keep coming here as we are now. NN: Wonderful, and what is the address of the house? NC: The address is 565 Campbell Road. NN: Okay, and can you describe it a little bit, as it currently is? NC: Yes, it is a small two bedroom, um it has a living room, a kitchen, one bathroom, and a screened in porch and a basement. NN: Okay, and what sort of condition is it in? NC: Um, it’s in very good condition, we maintained it over the years, we still have the original windows the original plumbing or, um, like sinks and bathtub, um, it’s the original wood floors, original wood, um, woodwork and it’s still the same color it was, when they bought it. NN: SO it truly feels like stepping back in time. NC: It is, I have, I have a picture from my when my grandfather bought it was, its dark brown like stain with white. Exact same. Hasn’t changed. NN: That’s wonderful, that’s really cool. Um, tell me a little bit more about some of your other experiences as a child coming to Saugatuck. [00:05:06] NC: Okay! Um we spent when we were here we spent almost every day at the beach. NN: Okay. NC: Or, or going through the woods back behind um, on Campbell road if you go north, it’s the woods between Campbell and Perryman and we would explore through there and we’d swing on the vines and whatever, um, we did not have a boat so we did not do any boating when I was a child, um, we swam all the time we went to town, rode bikes, all of those things. My parents didn’t have a lot of money so they didn’t enroll us in sailing or anything like that so it as basically, being kids. You know, and having the freedom to come and go as you pleased, you know and there were no curfews you know, your parents didn’t worry about you, you could, you know, be out, you know doing things that, well you should be doing. NN: That kids do right? NC: Exactly. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 4 NN: Yes. NC: Climbing trees, you know things we wouldn’t be doing in Chicago, because we did have access to that. NN: There wasn’t a space, right? Were you mostly spending this time with your family or did you have friends here as well? NC: We had, just the boy across the street and I had one girl that moved in. NN: Okay. NC: And then we hung around some the guys in town. So I didn’t meet a lot of girls until I was older. So it was mostly boys. NN: Mostly boys. NC: Which worked out well. NN: That’s okay. [Both laugh] NN: Um, so even when you were fairly young would your family ever sort of pack and head into Saugatuck, the village center or did you stay out close to the lake? NC: No, well during the day we were at the beach but in the evenings we would go into town and walk around and you know, visit with people that were selling everything, and we knew Mr. Francis who owned a grocery store. NN: Okay. NC: They’re the ones who lived across the street from us, so we would go into his store to do grocery shopping. NN: Okay, alright. NC: That little teeny store. NN: Do you recall any of the other restaurants or businesses that you would, frequent? NC: You know what, um, the only restaurant that we used to go was, it was a hamburger place, I’m trying to, I can’t think of the name. It was behind where the, its M and M’s now…. NN: Oh, right. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 5 NC: …but it used to be, I can’t remember what the name of it was. NN: Uh, tasty treat or something? At one point? NC: Yeah, that was, that was tasty freeze but right behind it where the breakfast place is now. NN: Mhm. NC: There was a restaurant that had hamburgers and I can’t remember the name of it. NN: That was on Blue Star, right? NC: It was on Blue Star but it was behind the tasty freeze. So I think, its, I, I don’t know what the name of it is now. I don’t think its WayPoint. NN: No, um, okay. When you, do you recall, um, uh, being at the house and you know, what kind of food would you guys eat? . NC: Um, my mother, my mother would make dinner before we went to the beach. She would prepare everything so when we came home from the beach, and we took our baths and got organized she would serve dinner within 20 minutes of the time we got home. NN: Wow, okay. NC: Yes, so she made homemade dinners every single day. I know she, she was quite the woman. [Whispers] I don’t do that. NN: But uh, apparently cooking was something she was passionate about? NC: She, well, well, we had to eat. NN: Well yes, and people get hungry. NC: And she did not mind cooking you know so, it was very hot because it’s a small cottage but, it worked. NN: Okay, um, [pause] so as you grew older into your teenage years, do you have specific memories of coming up…. NC: …I do…. NN: …that’s a little bit different than a young childhood’s experience. NC: I do, I brought up friends when I was a teenager so then we had, were able to go to the beach by ourselves and there was lots and lots of college kids and teenagers and they, you’d sit together so you �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 6 didn’t have to sit with your parents which was really nice, and I went to the, the um, festival, the rock festival that they had here. NN: Okay. NC: I attended that. That was really interesting. NN: Do you remember which year that was? NC: It was in like ’69? Maybe? NN: Okay, there were a couple of them in the late 60’s. NC: Yeah I believe it was in ’69. NN: Okay. NC: Alice Cooper was there. NN: Okay. NC: So, I believed it was around ’68 or ’69, right around the time Woodstock happened. NN: Yep. NC: So, it was like a mini one, but my parents allowed us to go and…. NN: …So they knew that’s where you were going? NC: They knew we, they dropped us off!. NN: Alright!. NC: They dropped us off and then we hitched a ride. We actually hitchhiked back to the house and my parents never even asked a question. That’s what I said they, you know, it was a different world back then. You know, and when I was probably in my early teens, um, that’s when all the college kids would be there and they’d gather around where Marro’s is and Coral Gables and they’d have to close down the town because there was so many of them, and they’d just kind of hang out, and that’s what we did. There was also a dance, it wasn’t the Pavilion it’s where um, Mermaid is now, that used to be a big warehouse at one time, and they had dances, teen dances there. That you could go to, and we did that in the evenings on like Saturday nights, which was a lot of fun, so…. [00:10:10] NN: About what year would that have been? �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 7 NC: That probably was somewhere between ’67 and ’69. NN: Okay. NC: …because that would’ve been, let’s see, let me think. Yes, it would’ve been the summer of ’67 or ’68, because I remember the friends I brought up with me. NN: They were all friends from back in Chicago? NC: They were, yes, and they loved it here. They still come up with me by the way. NN: Good! That’s excellent! Uh, so what else do you remember about the concert? The rock concert? NC: The concert!. NN: Yes!. NC: It was very interesting, there were a lot of drugs, lot of smoking, um, people were just enjoying themselves, lots of dancing, music was great! You know, it was a beautiful day, didn’t rain so it was very very nice…. NN: That makes a big difference when you were in a field, right? NC: Yes, yes. It was, it was, I had never been to something like that, I went to an all-girl catholic school back home, and so we were very conservative and it was like, very interesting to me, it opened my eyes to a lot of different things because they were doing many things that I had never seen before. So, kind of introduced me to what college would be like. NN: Yes [Both laugh] Do you recall any of the other performers that? NC: I don’t. Alice Cooper sticks out in my mind because he became famous, so. NN: Right. He was there. NC: Right. In fact, my cousin who lived in Fennville, he was one of his road managers. Alice Cooper. Yes. Which is very cool. NN: Oh! That’s fascinating. NC: Yes! Very cool. NN: I bet I would have some good questions for him too. NC: He passed away [laughs] He just passed away two years ago, I know, you missed it!. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 8 NN: Um, yeah, we’ve heard, we’ve heard several people, you know have memories of that concert depending on their, perhaps, level of sobriety. NC: Right, I was going to say depending on their age. Because I was probably about 14, 15 years old so I was a lot younger. NN: You were younger then. NC: Yes, yes. NN: Okay interesting, and even in a conservative Catholic household…. NC: Yes!. NN: …it was no questions asked over the concert? NC: Nope, nope. I don’t think they had a clue, what they were dropping us off at. To be perfectly honest, and when we came home we really didn’t tell them anything about it, and they passed away a few years ago and they still didn’t know. [Laughs] Life is good. NN: Yes, that’s great. NC: So but, no, it was great, it was very very interesting being there, it was, it was something different you know and it was nice that you could come to a small town like this and have something like that…. NN: Right…. NC: …and Saugatuck has always been a place where you can come have things that were different, then many other places and I think that’s one of the draws here. NN: Yep. NC: I really do. NN: I agree, I think a lot of other people would agree with you as well. Um, did you ever during the summers as a teen or young adult did you ever, sounds like you always came here for vacation, did you ever, ever have a summer job here? NC: I didn’t, no, I had summer jobs back home. NN: Okay, that’s fine. Um, do you recall then, as, as you were getting older were there other restaurants or businesses or places you used to hang out? NC: Uh, no. No, we basically stayed close to home. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 9 NN: Stayed close, and on the beach right? NC: Right, on the beach or in town just enjoying, you know, the crowds basically. NN: Did you ever have a reason to come to Douglas? NC: Yes, there as a really good bakery here. [Laughs] NN: Oh! Okay!. NC: There was a really good bakery, it was next to where the catholic school used to be. NN: Okay, down Center Street, yep!. NC: Yes, yes they made really good butter crust bread. So, and we would, there would be baseball games that you could watch too, in the park…. NN: [speaking over NC] At the Pet…what is now Beery Field. NC: Exactly. NN: Okay, okay. NC: So but other than that I don’t think we did, we’d walk a lot my brother and I rode bikes everywhere, so we, we rode all the way through, down the hills and around Saugatuck and Douglas so. NN: Do you recall, especially if you were on a bike, um, ever encountering motorcycle groups? NC: Oh gosh, yes! . NN: Okay! . NC: Oh yeah, that’s, well the town went through many different changes, it was the motorcycles came in and then, um, when the gay population first starting came, coming in it was, oh, trying to think of the name of the place right as you’re going into Saugatuck, it’s called the blue something-or-other. NN: Blue Tempo. NC: Yes! Yes. There, there was a lot of different changes going on, things, again, that you never saw before. You know, it was very very interesting, and um, so the town went through different changes and because when I was a child, it was very family oriented and then it, it went to the college kids and then it went to I believe the motorcycle gangs were first, and then I believe the gay population started to come in and you know, bring their culture because back then it was very different because they were um, trying to, um, how could I say this, they were a little more flamboyant. You know where as now, everybody’s the same, which is the way it should’ve been a long time ago, but it was you know, different �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 10 culture. So you got that, and then it went back to the family, which is really interesting, it’s a full circle, because now, you know if you go to the beach, there was, as you sure you, you might, I don’t know if you remember this, where there was the gay part of the beach where you had to pay and there was nudity and everything else down there, and now, I mean it’s all families, you know and everybody just intermingles and gets along and its, it’s awesome, you know? And that’s the thing I think is so cool about Saugatuck because it’s such a great area for everything, and everyone!. [00:15:40] NN: Yes. NC: So. But yes, there’s been many different changes. Motorcycle gangs were interesting. You’d see like, you know, a hundred of them parked in front of the Sand Bar, you know, because that was what their favorite bar, you know and it was loud you know and it didn’t scare people away but I don’t think families came as much. NN: Well, and I guess if the motorcycle groups, gangs, had, had their space everybody else had space around them. NC: Exactly. NN: Okay, alright. NC: Exactly, exactly. You know it didn’t stop our family from coming into town, to walk around and everything we, we continued doing everything the same our entire life. So…. NN: Do you ever recall when the motorcycle gangs would roll in or roll out of town? NC: Oh, the sound? NN: Yes. NC: Oh my gosh, yes. It was, it was noisy it was kind of like the cigarette boats now [laughs] when you hear them going, but it was much closer. Yes, because they had like the big hogs, I mean they had they huge motorcycles you know, and they were, they were large men you know, they had, looked scary and in sure they weren’t scary, they were just normal people that just wanted to do their thing, but, you know it’s just different then what we had before. NN: Right, and very noticeable. NC: Exactly. Exactly, because I’m 65, no, I’m 66 [laughs] . NN: You look great. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 11 NC: Well thank you, so, so I’ve experienced a lot of different changes. I think more, more changes during my lifetime than any other time, in Saugatuck, you know, because, I think when my grandparents bought it, I think it was very much a resort town, like, um, my mother-in-law when she was 17, took a bus here and stayed at one of the hotels because she had heard that it was a fun place to go. NN: How old do you think she was when she did that? NC: She was 17. NN: Okay, okay. NC: She is now, she lives with us, she’s 92. NN: Wow. [Both laugh] NN: Alright, so, this is all fascinating. Um, you know as you kind of already pointed out, the, the gay culture…. NC: Yes…. NN: …kind of, kind of grew or became more um, less underground…. NC: ..Right!. NN: …perhaps? So, when do you, do you recall when you first kind of became aware of that? NC: Um, I was probably, I believe I was married so it had to be in the ‘70s maybe late ‘70s because I think my children were already born and I, I, remember one incident, it was the Fourth of July and there was um, probably 4 or 5 gay men out in front of the, where the washroom is in Saugatuck and one of them was dressed in a wedding gown and it just and it was just really cute, and they were, they were adorable you know but it was just so bizarre and my kids were like, ‘what’s going on?’ You know? You know, and we were always very open, we explained to them everything, they were, they were very accepting about everything because you know we had friends who were gay and everything so it was no big deal. But, it was so flamboyant, I mean it was just like something that was like in your face, you know but it, it changed. I mean it, it, which is wonderful you know because now I think our gay population is, what about 40%? You know, which is wonderful and, like I said many of my friends are gay, I had gay friends when I was young too though, so. NN: So um, when you just, when you say that it was flamboyant, was it mostly in their style of dress? Such as wedding gowns? �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 12 NC: It was in their style of dress, it was in the way they acted, um, they were very physically showing that they were gay, you know they had no qualms about it which, which they should’ve been able to because heterosexual people are, but it wasn’t accepted back then. NN: Right. NC: That, that was the difference, so they were making um, a statement you know which I think was probably a really good thing because people got, like anything else, anything that’s different, once you get used to seeing it, it’s no longer different. It’s every day, you know? And like you said when they came out of the closet, which should’ve happened a long time ago, I think people just became very accepting of everything, so, which is really nice. But I think that was their way, I think it’s, the way with anything that’s different, you have you to kind of put it in people’s faces and put it out there so they see it, and they recognize it, and then from there you kind of just tame it down to normalcy. NN: Yeah, you mentioned the Blue Tempo as a, as a destination. [00:20:02] NC: Yes. NN: What else do you recall about the Blue Tempo? Did you ever go there? NC: I did not. NN: Did you know people who went there? NC: I did know people who went there, but I did not, so and I remember also um, what’s the name of the resort? The hotel, right on Blue Star? NN: Uh, The Dunes? NC: The Dunes, yes, I knew many people, my daughter [Laughs] my daughter is 40, she’s 41 now but when she was younger she hung around with some people that were gay and she went there, and it was a really interesting story when she came home that night. I was like ‘Really?’ but it was, you know it was, like it’s just a different way of life. NN: And it’s a safe space for them. NC: It’s a very safe space, and I don’t, I don’t hear about The Dunes anymore so I don’t know whether or not it’s, it’s still a destination, I’m not sure, because you know everything is acceptable now. You know, you can go to any hotel it doesn’t matter, you know but I don’t know if they still, do they still have their bar and dancing, and? NN: Yeah, it still very much a destination for that community. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 13 NC: It is. I did have a friend who, who made a reservation there that was not gay [Laughs] NN: Okay, that may have been a bit of a surprise. NC: Their, their stories were hysterical. NN: Yes, but everybody’s perspective is different…. NC: Exactly…. NN: …and it can be very eye opening…. NC: …It is!. NN: In one of the other interviews, as part of this project was with a couple of owners from The Dunes Resort…. NC: …Yes. NN: and, and that’s part of why this whole project is so valuable, is to get all these different points of view…. NC…Right…. NN: …Of the same time period…. NC: Right, right…. NN: to really stich that…. NC: [speaking over NN] Now are the same owners, do they still own that? NN: I believe they sold it recently. Within the last…. NC: …well I know they were older…. NN: Yeah, yeah, but they’re still around. NC: I know. NN: Which is good. NC: I didn’t know if they still owned it or not. NN: Yes. Um, so [pause] you mentioned the different phases kind of…. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 14 NC: …Yes. NN: In the community. The college students came first. Do you recall anything else about when the town would be shut down for college weekends? NC: I mean they, they had to shut it down because you literally could not move. You could not move through town, you couldn’t bring a car through because there was so many kids in the streets. You know, it was, it was just really fun and I mean, I was young, I was probably 15 or 16 years old and they were, you know 18 to 21, you know so they were a lot crazier then I was then but I loved it, it was so much fun. Just being there, and my parents again, would drop me off you know at the corner, and then we would walk home so we would have to walk down Blue Star and go all the way around to the other side because the Ferry would stop running, at 9 or 10 o’clock so that didn’t help us. NN: Right, so these were late nights? NC: They were late nights, yes and you didn’t worry about walking around. You know and even with my own children, they had a lot more freedom here than they did back home. Growing up in, they grew up in the suburbs of Chicago, but you know we would allow them to stay out, they’d be out till 2 in the morning with their friends you know, they’d be down at Douglas beach, climbing over the fence you know to go down there, you just didn’t worry. NN: Yeah. NC: You know, and nothing ever happened you know, luckily. So, we were very very lucky. I don’t know if we’d do that with the grandkids now [laughs] It’s a little different now, you know because you hear different things that are going on, so, but that’s just the world. NN: Yeah, yep. Do you recall, even though you were younger do you remember any of the destinations, or that, that these college students would frequent? Or was, were they just in the street. NC: It was, they were in the street. They were, it was right by Coral Gables. That whole area like Marro’s, Coral Gables, um, whatever that store is Good Goods or whatever it is, I always call it Home Goods since we use that name now. But that whole area, those streets were just filled with kids you know so, and there weren’t many adults around, very few. There were police, they brought in the state police, they had brown uniforms on I believe, or whatever color they were. So, they were walking around to take care of the people that were really intoxicated or on drugs, because drugs were big thing back then. NN: They were? NC: Huge thing. Right. That was, that was, very, it was just in the ‘60’s you know, so you got the flower children. NN: Right. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 15 NC: And the college kids were very out spoken back then. NN: Yeah, well that was…. NC: [Over NN] Kent State, Vietnam…. NN: …It was a, uh, sort of a tenacious time, right? NC: It was! It really really was you know and like I said, being from my Catholic school I was not involved in a lot of that so, when I came here it kind of opened my eyes to a lot of different things that I could see. NN: Okay. Hmm, which, what was the name of the school that you went to? NC: I went to Aquinas…. NN: …Okay. NC: Which was right in Chicago. NN: Okay, alright. Um, [pause] did, thinking again just sort of real quick about the crazy college times, did it seem like the Police were in control of the situation? [00:25:02] NC: Oh god no!. NN: Definitely not? NC: Oh god no, no [laughs] No there was no control, they were just crazy. I mean it was just liquor out on the streets and people running around, yelling, and just having a great time. You know what, but I think what the Police did was they contained it to the area. NN: Oh, okay. NC: So it didn’t move outwards into the residential area. NN: Kind of keeping an informal perimeter sort of thing. NC: Right, right. Do you know because they didn’t want it to go into the residential area where the families were living? NN: Right. NC: So, but it was all in the downtown area. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 16 NN: Okay, alright, um, so, your family still comes…. NC: …we do…. NN: To Saugatuck, yes? NC: Yes. NN: How many people are in the family now? . NC: Okay, um, in my family let’s see there my husband and I, you have my mother in law, two girls, two guys, 1, 2, 3, there’s 11 of us and my brother has 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, he has 13. So, and we share the cottage, I get a week, he gets a week. NN: Okay. Alright, because I was going to say if there is only 2 bedrooms, that’s a lot of people. NC: Right, right. We, we tag team and even with my family, when they come up we kind of alternate. Like my husband will not stay if all the kids are coming up, he and my mother in law go home because then it’s a little too chaotic for my mother in law at 92. NN: Absolutely. NC: You know but, but I will be there with like the grandkids and everything. My oldest grandson is 21 so he works and is in college so he doesn’t come up as much. But he’s the one that spent most of his life up here in the summers. NN: Okay, alright. NC: He spent his, almost the entire summer here with me, and he was the one that was involved with like, he went to art colony took classes, he went did sailing, he did swimming here, he had lots of friends around here, local friends so, his, his life during the summer really revolved around Saugatuck, so…. NN: That’s great. NC: It is, it’s really nice and it was nice that I could be there to be with him the whole time. NN: Sure, can you tell me just a little bit about your mother in law, at age 92 she’s been coming here for quite a while. Okay. NC: She has! She loves the beach too, she’s a beach person. She grew up in Hyde Park…. NN: Okay. NC: In Chicago and so she also spent her summers on the beach there. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 17 NN: Okay. NC: So, and we have a home now in Florida too, so we, we winter and we spend time on the beach there. Hence, hence the wrinkles! [Laughs] NN: Good looking wrinkles. NC: As it, that’s what happens when you’re in the sun too much. NN: What is her name? NC: Her name is Imogene and her last name is Craen. . NN: Okay, same spelling. NC: Yes, exactly. Yes and she’s, she’s been with us for um, she’s been living with us for 4 years. NN: Okay, alright. NC: So, but she came up here with my mom and dad a lot, after her husband passed away. So she spent a lot of time up here too with my parents. NN: Wonderful!. NC: Yeah, yeah. I mean life is good. NN: That’s great, that’s great. Um, so I guess looking a little long range now into the future, just thinking about it. You know, what are your hopes for the future of Saugatuck and this area? . NC: You know what, I like the direction it’s gone in. It’s, it’s very very nice, I don’t like the Douglas road now, but [Laughs] other, other than that, I really have no complaints I think that its, it’s become a very um, I love the arts center, um, I love the plays, there’s so much culture here that you can utilize. It’s almost like a mini Chicago. I feel like when I come here, you know, you can be exposed to almost anything and the people that have moved in, their homes are absolutely gorgeous I mean you drive anywhere throughout the town and everything is kept up beautifully. You know, so I am hoping that it will continue on that way, we won’t have our drips like we did in the past you know where things have fallen down a little bit, you know and I’m hoping that we’re going to continue on this path because it’s really nice, and it’s a great place people come here and they want to move here. You know, I don’t know how many of my friends have actually become residents here. So, I will never become a resident here because I, I like Florida and you know, whatever, and I do like Chicago my family’s back there so I will never live here full time but I spend a lot of time. NN: But summer. NC: Right, and and the weeks that I’m not here because my brothers here, I go to Renee’s house. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 18 NN: Okay. [Both Laugh] and, and just for the record, who is Renee? What’s the relation? NC: Renee Zita, and that whole family, as you know is just everywhere so they’re wonderful people and they are my, like my sisters. NN: Okay, alright, and what is your actual relation to Renee? NC: As a friend. NN: As a friend, okay. NC: Yes, I, I met her mother, Ann when were very young, and in our, she was in her 50’s and I was in my 40’s, I think that’s very young, I’m sure you don’t. But, but we were best friends for many many years and, then I became friends with all the girls, and her brothers. NN: Okay, okay, and that was Ann Rinaldi? NC: Ann Rinaldi, yes. NN: Alright, okay, um, so keep in mind that…. [00:30:01] NC: Yes. NN: That this interview will be saved for a very long time. NC: Okay!. NN: Maybe accessed long into the future, so if someone were to listen to this, 40 or 50 years from now what would you like them to know? What else would you like them to know about the community, or about your family or? NC: That there’s no better place, and its home, and I was telling the girl that took my picture, I said you know when you come in from Chicago when you’re not a full time resident and you pass that Michigan sign on the expressway you kind of go ‘Ah’, its home, you know, and it is cause you come here and you basically forget anything that is going on in your life. You just, it’s really a nice place to be, and I can see why people want to live here because of that, because it is so nice and the community is wonderful, so, great people. NN: Good, um, this just prompted one other real quick question, uh, even thinking back to when you were, when you were very young, um, and coming here, did you always drive? Did your family always drive? �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 19 NC: We did always drive, yes, no air conditioning. My father drove here, when he was a little boy when they bought the cottage. NN: Okay. NC: They um, I don’t know what kind of cars they drove back then in the 1930’s but I remember him saying they used to have bring a lot of tires because there was a lot of um, gravel roads that they would have to travel and it would blow out the tires so they would have to change tires quite often, so but they had a, they had a car, my father had a car form the time he was born, so. NN: Okay, alright, because I know the Blue Star Highway was not completed until the late ‘30s. NC: Right. NN: And so, before that there were a lot of zigs and zags. NC: Yes. NN: Kind of to come up along the lakeshore. NC: Now when I, when I came up we took um, we took like 1220 and then we went to Red, Red Arrow or 31 whatever it was, there was no expressway. NN: Right. NC: So, it did take us from Chicago, took about 3 and half hours. NN: Okay, to make that trip. NC: Right. NN: Before the freeway. NC: Right, and no air conditioning. [Both laugh] NN: At least you were close to the lake!. NC: And luck, luckily there only, you know only two of us in the back seat you know with the line down the middle of the thing so you didn’t touch each other. NN: Of course, of course. Dou remember what kind of car that was? NC: It was um, the first one was a Mercury, like a big old blue Mercury in 1953. NN: Okay. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 20 NC: And from there we went to a Comet in 1962, you know, a little cars and after that we got the Chavelles. NN: Okay. NC: That’s when I could drive. NN: Alright. NC: I actually learned how to drive here too. NN: Oh, really? NC: I did! On Wiley, my father, Wiley and what’s the street where Burger King is? 64th? NN: 64th. NC: Okay, when I was really little my dad would put me on his lap on 64th when we’d go to Holland and he’d let us steer. NN: Okay. NC: When I got to be about 10, he took us to Wiley between um, Blue Star and the lake and he would let us drive, the car. [Both laugh] Up and down Wiley. You know, and then he taught us how to do a threepoint turn where the Miro is, you know that’s, so I learned how to drive here. NN: That’s fascinating. NC: I know! Yeah, so by the time I was 16 I was a, you know Hell on wheels. [Both laugh] NN: No problem. That’s great!. NC: So it’s been a great place for me. NN: Okay, couple more questions. Were almost done. NC: Yes! I’m not in any hurry!. NN: Okay, um, again thinking that you know, who knows who might listen to this in the future. NC: Right. NN: Do you have any thoughts or advise for a younger person who might listen to this tape? NC: Oh, come here as much as often. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 21 NN: Okay. NC: I mean, all the time, seriously because it just really refreshes you and makes you feel fantastic. NN: Very good. NC: Buy something here. [Laughs] . NN: Yes, yes. NC: When the prices are down. [Laughs] NN: From time to time, hopefully that happens. NC: Yeah well not now. [Laughs] NN: Not at the moment, no. Um, and I think the last question is just, is there any other stories you can think of, any other…. NC: I don’t think so, not that, not that I know right now. NN: Okay. NC: If I think of anything I can send them to you. NN: Please, you know where to find us. NC: But at this, at this point I can’t. I will talk to my brother and see if he as anything else. NN: Okay. The other thing, just so you know, as part of this whole project is that, um, we are also scanning photographs and that sort of thing, so that, and you can take them back…. NC: Right. NN: …were not keeping them. But this way we sort of have digital records and images that match the stories that we’re hearing. NC: Okay. NN: So um, if you come across any…. NC: I will look. NN: Scrapbooks, anything. NC: I have lots and lots of photos in my closet. �Nancy Crean - Interviewed by Nathan Neitering June 6 2018 22 NN: Okay. Alright, well Nancy thank you so much for sharing your time and your memories with me, this concludes our interview. NC: Thank you. [00:34:28] � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-07_SD-CreanN-20180606 Creator An entity primarily responsible for making the resource Crean, Nancy Date A point or period of time associated with an event in the lifecycle of the resource 2018-06-06 Title A name given to the resource Nancy Crean (Audio interview and transcript), 2018 Description An account of the resource Nancy Crean's family bought a home in Saugatuck, Michigan in 1930. Throughout her childhood she remembers coming from Chicago to Saugatuck every weekend from April to November. She and her family still spend weekends in the family home throughout the summer. In her interview, Nancy remembers a massive influx of college aged people on holiday weekends in the 1960s. Nancy also recounts attending the 1968 music festival that was held in Douglas. Contributor An entity responsible for making contributions to the resource Neitering, Nathan (Interviewer) Van Orsdol, Mollie (Transcriber) Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Outdoor recreation Motorcycle gangs Gay culture College students Oral history Audio recordings Source A related resource from which the described resource is derived Stories of Summer project, Kutsche Office of Local History. Grand Valley State University Relation A related resource Stories of Summer (Common Heritage project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Sound Text Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/eb19d5a88e6babe346633fc3ff5b3981.pdf 66327e40e8dcf465990ca15a9b8e8159 PDF Text Text ���� https://digitalcollections.library.gvsu.edu/files/original/6008e3a94d41dbe6f5b732fd7737fa38.pdf fc158034c16254e94b6fc4e8354a7506 PDF Text Text Nov 3rd 1861 Dear Sisters I once more take the opportunity to write you a few lines to inform how we are getting along. Ansel is still gaining & yesterday was dressed for the first time. Hee is vary poor & weak but is gaining strength quite fast & probably will soon get around again but will not be able to do any thing in some time yet. Hee thinks that he cannot come Home this fall as he has been sick now some time & will loose two months wages & then it would cost him about one hundred dollars to come as he wants to this season of the year as the fair [fare] is vary high �So you will have to wate a little while longer before you see him. Hee is going to make Ezekiel a visit as soon as he gitts able to travile & I think of young the same time There is no news to write that I think of as we have got no letters from any one since my last to you. Do you know any thing about Ansel where he is or what he is at if you do tell me in your next letter. Does Emily hear any thing from Malvina lately if you know pleas write in your next & all the rest of the news that you think of. How glad I am that I have got a little sis to write to & to receive a letter from & you need not worry about paying for the little favors that we send you as we �consider them more than paid already. And at any time you want more let me know & you shall have it. Hoping to hear from you soon & that you are still enjoying good health I remain your affectionate Brother David M. Elliott Direct to New Lisbon Jueneau Co Wis � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-45_CW1-2668 Title A name given to the resource Nancy Elliott from David M. Elliott Date A point or period of time associated with an event in the lifecycle of the resource 1861-11-03 Creator An entity primarily responsible for making the resource Elliott, David M. Subject The topic of the resource Correspondence United States--History--Civil War, 1861-1865 Patriotic envelopes La Crosse (Wis.) Wisconsin Schuyler County (N.Y.) Description An account of the resource Letter from David M. Elliott to his sisters in New York, describing life in Wisconsin and asking for news from home. Sent with an envelope with impression of Abraham Lincoln and Hannibal Hamlin stamped on the front. Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Source A related resource from which the described resource is derived Civil War and slavery collection (RHC-45): http://gvsu.lyrasistechnology.org/repositories/2/resources/472 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/ef6c985930fa5a077c4dfe08fb2a6ad4.jpg 995acb024f8a5be50ca347cf4eca47b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1960s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_000960 Title A name given to the resource Nancy Turpin and Joe Jonston with Don Hall in physics class Description An account of the resource Nancy Turpin and Joe Jonston with Don Hall in physics class, 1967. Subject The topic of the resource Students Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo https://digitalcollections.library.gvsu.edu/files/original/3f2ea16e0d8b66684541dae2a476564d.jpg e5a9ff0c9a13e05ac12ccb8f9b813943 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1960s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_000961 Title A name given to the resource Nancy Turpin and Joseph Johnston in biology class Description An account of the resource Nancy Turpin and Joseph Johnston in biology class with their professor. Subject The topic of the resource Students Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo