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About the Book
"Following the River" by Bob Sorge is a Christian book that explores the importance of surrendering to God's will and following His leading in our lives. Through personal anecdotes and biblical teachings, Sorge encourages readers to trust in God's plans, even when they may not make sense, and to rely on His strength to guide them through life's challenges. Ultimately, the book emphasizes the transformative power of surrendering to God and allowing Him to direct our paths.
Fanny Crosby
"Oh, what a happy soul I am, / although I cannot see! / I am resolved that in this world / Contented I will be."
Francis Jane Crosby wrote more than 9,000 hymns, some of which are among the most popular in every Christian denomination. She wrote so many that she was forced to use pen names lest the hymnals be filled with her name above all others. And, for most people, the most remarkable thing about her was that she had done so in spite of her blindness.
"I think it is a great pity that the Master did not give you sight when he showered so many other gifts upon you," remarked one well-meaning preacher.
Fanny Crosby responded at once, as she had heard such comments before. "Do you know that if at birth I had been able to make one petition, it would have been that I was born blind?" said the poet, who had been able to see only for her first six weeks of life. "Because when I get to heaven, the first face that shall ever gladden my sight will be that of my Savior."
Blinded by a quack
Born in Putnam County, New York, Crosby became ill within two months. Unfortunately, the family doctor was away, and another man—pretending to be a certified doctor—treated her by prescribing hot mustard poultices to be applied to her eyes. Her illness eventually relented, but the treatment left her blind. When the doctor was revealed to be a quack, he disappeared. A few months later, Crosby's father died. Her mother was forced to find work as a maid to support the family, and Fanny was mostly raised by her Christian grandmother.
Her love of poetry began early—her first verse, written at age 8, echoed her lifelong refusal to feel sorry for herself:
Oh, what a happy soul I am,
although I cannot see!
I am resolved that in this world
Contented I will be.
How many blessings I enjoy
That other people don't,
To weep and sigh because I'm blind
I cannot, and I won't!
While she enjoyed her poetry, she zealously memorized the Bible. Memorizing five chapters a week, even as a child she could recite the Pentateuch, the Gospels, Proverbs, the Song of Solomon, and many psalms chapter and verse.
Her mother's hard work paid off. Shortly before her fifteenth birthday, Crosby was sent to the recently founded New York Institute for the Blind, which would be her home for 23 years: 12 as a student, 11 as a teacher. She initially indulged in her own poetry and was called upon to pen verses for various occasions. In time the principal asked her to avoid such "distractions" in favor of her general instruction. "We have no right to be vain in the presence of the Owner and Creator of all things," he said.
It was the work of a traveling phrenologist (one who studies the shape and irregularities of the skull for insights into character and mental capacity) that changed the school's mind and again ignited her passion. Though his study is now the ridicule of science, the phrenologist's words were to prove prophetic: "Here is a poetess. Give her every possible encouragement. Read the best books to her and teach her the finest that is in poetry. You will hear from this young lady some day."
Poetry for presidents
It didn't take long. By age 23 Crosby was addressing Congress and making friendships with presidents. In fact, she knew all the chief executives of her lifetime, especially Grover Cleveland, who served as secretary for the Institute for the Blind before his election.
Another member of the institute, former pupil Alexander van Alstine, married Crosby in 1858. Considered one of New York's best organists, he wrote the music to many of Crosby's hymns. Crosby herself put music to only a few of hers, though she played harp, piano, guitar, and other instruments. More often, musicians came to her for lyrics. For example, one day musician William Doane dropped by her home for a surprise visit, begging her to put some words to a tune he had recently written and which he was to perform at an upcoming Sunday School convention. The only problem was that his train to the convention was leaving in 35 minutes. He sat at the piano and played the tune.
"Your music says, 'Safe in the Arms of Jesus,'" Crosby said, scribbling out the hymn's words immediately. "Read it on the train and hurry. You don't want to be late!" The hymn became one of Crosby's most famous.
Though she was under contract to submit three hymns a week to her publisher and often wrote six or seven a day (for a dollar or two each), many became incredibly popular. When Dwight Moody and Ira Sankey began to use them in their crusades, they received even more attention. Among them are "Blessed Assurance," "All the Way My Savior Leads Me," "To God Be the Glory," "Pass Me Not, O Gentle Savior," "Safe in the Arms of Jesus," "Rescue the Perishing," and "Jesus Keep Me Near the Cross."
She could write very complex hymns and compose music with a more classical structure (she could even improvise it), but she preferred to write simple, sentimental verses that could be used for evangelism. She continued to write her poetry up to her death, a month shy of her ninety-fifth birthday. "You will reach the river brink, some sweet day, bye and bye," was her last stanza.
Meeting Christ in Aslan
Over the next five years, the seven installments of C.S. Lewis’s The Chronicles of Narniaseries will turn seventy. Generations of children have found delight in stepping through the wardrobe door to this mythical world, filled with magic, meaning, and a whole cast of fantastic characters. Still, in the end, the appeal of The Chronicles comes back to a single character. Aslan, the Great Lion, who calls the children into Narnia, plays the central role in each adventure. It’s not exactly correct to call Aslan an “allegory” of Jesus. Lewis might prefer that we instead think of Aslan as Christ transposed into a Narnian key, a Creator and Lord fit for a world primarily inhabited by talking animals. Throughout The Chronicles, Aslan often emphasizes that he really is a lion and not an illusion or symbol. “Touch me,” he tells one character in “The Horse and His Boy”. “Smell me. Here are my paws, here is my tail, these are my whiskers. I am a true Beast.” True to Lewis’s genius and his love of myth, Aslan’s purpose in calling children from our world into Narnia is the same as Lewis’s purpose in writing The Chronicles. Through the Great Lion, Lewis gives us a glimpse of the character of the Savior and King he called “myth become fact,” and whom Scripture calls “the Lion of Judah.” Two moments in the Narnia series are particular favorites of my colleague Shane Morris, and illustrate Aslan’s mission with particular clarity. One takes place during the third Chronicle (the fifth in publication order), “The Horse and His Boy.” Shasta, the main character, has ridden through the night and is lost in the mountains. Having grown up in a foreign country and just returned to Narnia, he doesn’t realize he is royalty. After running and riding for his life for so long, he’s tired and discouraged, and concludes that he must be the unluckiest boy alive. Suddenly, a great Voice confronts him out of the darkness, and asks to know his sorrows. A very frightened Shasta, not knowing what else to do, relays how he and his companions fled from their captors across the desert, how fear and danger have stalked them at every turn, and how he’s been threatened by at least four lions. “There was only one lion,” replies the Voice. “But he was swift of foot.” Aslan reveals that he was the lion, and that his intervention at these crucial moments saved the boy’s life, as well as the lives of his fellow travelers and his native kingdom. What Shasta saw as bad luck was Aslan’s providential paw guiding him through danger toward his rightful throne, and even introducing him to his future wife. The second scene takes place at the end of “The Voyage of the Dawn Treader.” Lucy, Edmund, and Eustace have just come to the edge of the world after months at sea. The rest of the characters have gone home or paddled into Aslan’s Country, and the three children are left alone. They encounter Aslan on a grassy shore, who’s taken the form of a lamb and invites them to breakfast. There, he tells the children that it’s time for them to go home and, for Edmund and Lucy, there will be no returning to Narnia. They don’t take the news well. “It isn’t Narnia, you know,” cries Lucy. “It’s you. We shan’t meet you there. And how are we to live, never meeting you?” “But you shall meet me, dear one,” Aslan replies. “But there I have another name. You must learn to know me by that name. This was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there.” Like Jesus revealing Himself to His disciples at the breaking of bread, here Lewis has Aslan shed the disguise to allow readers to fully recognize him. When Aslan reveals his role in Shasta’s story, it brings to mind how Jesus, on the road to Emmaus, revealed to His disciples everything concerning Himself in the Law and Prophets. It’s no wonder that, like those disciples, many who have met Aslan in The Chronicles of Narnia have also felt their hearts burning within them. Seventy years on, C.S. Lewis’s stories deserve every bit of their status as classics, filled as they are with spiritual treasures for young and old alike. But the lion’s share of the credit goes to Aslan. In him we meet a character too good to be just a story. And, like Lucy, we long to know his true name—not in spite of the mane and tail, but because of them. Publication date: October 20, 2021 John Stonestreet