“I used to be disgusted,” sang Elvis Costello, “and now I try to be amused.” That’s been my attitude about the business of incorporating “inclusive” language into the Catholic liturgy. The process, it seems to me, runs smack-dab into a couple of insurmountable problems. One is the accurate translation of ancient texts that use gender-specific language in contexts the inclusive crowd finds offensive. The other, deeper problem is the notion of God “the Father,” so fundamental to the Christian paradigm that it brooks no amelioration by phrases like “the Creator.” In approving the new lectionary, the U. S. bishops have agreed to steer the middle course, substituting for the words “men” and “mankind” words like “humans” and “humankind” but leaving intact references to God the Father.
When the concept of inclusive language began to take hold, the words to church songs were the first victims to fall under the revisionists’ sword, since Catholic music-publishing houses are answerable to no one or no thing beyond the wetted finger stuck in the air. Much contemporary church music, already banal, was further weakened by changes that avoided assigning male pronouns to God; weakened not only in a theological sense but by making modern idioms sound even clunkier. Take “The Cry of the Poor,” first published in 1978 in the second volume of Glory & Praise by North American Liturgy Resources. Here is the fourth verse with the revisions of recent editions in parentheses:
“We proclaim the greatness of God,
His (God’s) praise ever in our mouth;
ev’ry face brightened in his (God’s) light,
for he (God) hears the cry of the poor.”
Last week at my parish “Amazing Grace” was the announced recessional hymn. As I sang the second line, “That saved a wretch like me,” by heart, it sounded like others were singing something different. So I checked the missalette (published by J. S. Paluch Company, Inc.). The printed lyrics went like this:
“Amazing grace! How sweet the sound
That saved and rescued me!
I once was lost but now am found,
Was blind but now I see!”
Here we have obviously moved beyond revision for feminism’s sake. Now the wretches among us no longer need feel wretched by having to confess their wretchedness in song. The trouble lies in drawing the line at wretchedness. Leaving the rest of the verse untouched does no justice to the direction-impaired and the unsighted. May I suggest an even less offensive version:
“Amazing grace! How sweet the sound
That saved and rescued me!
I wandered once but found my way
and with my heart I see!”
I have a lot more neat ideas for expunging hurtful content from church hymns old and new. Interested music-publishing houses may reach me at editor@catholic.com.