Tuesday, July 14, 2026
Blessed are the pure in heart: they shall see God.
—Matthew 5:8
Richard Rohr explores Jesus’s metaphor, connecting the eyes and the heart:
In this beatitude, Jesus is saying, “When the heart is right, seeing will be right.” He ties together heart and sight. We might have heard the saying, “Beauty is in the eyes of the beholder”—so is God. All we need to do is keep the lens clean and the heart pure. If our heart is cold, our vision is distorted. If we hold coldness and unforgiveness, the desire to do violence with words or actions, or avert our loving gaze so that another will feel our rejection, we will not be able to see clearly. Our heart is not pure. Jesus calls us to purity of heart with the promise that correct seeing will follow. [1]
The author and spiritual director Carl McColman reflects on what Jesus might have meant by “purity of heart,” calling it “the beatitude that points toward the goal of every restless heart—to see God”:
Over the centuries, purity has been used for religious and political control. It can be a dangerous concept—used to justify genocide like the Shoah (Holocaust) as well as a code word for controlling people’s sexual behavior. But the word Jesus uses—the Greek word katharoi— carries a different meaning. Katharoi is a root of the word catharsis. Catharsis, in the annals of Western mysticism, is the necessary first step on the journey toward union with God. Here pure not only suggests a freedom from contaminating elements; it also could simply be rendered as clean. We might rephrase the beatitude as “Blessed is a free and cleansed heart, for it shall see God.”
“Seeing God” doesn’t happen automatically. The God of love is gentle and not willing to force the divine presence on those who just don’t want it. Most of us are a paradox: we want it, and we don’t want it. We have mixed hearts, hearts that know the only true rest is in God but nevertheless remain invested in all sorts of other pleasures—some perfectly benign and others not so good. With this reality in mind, it’s important to read Jesus’s beatitude as a challenge as well as an invitation—not as an accusation or a shaming.
Jesus knows that no human being has a perfectly clean (pure) heart. But in his wisdom, he’s asking, “Are you willing to show up? Are you willing to do the work? Are you willing to clean up your mess?” To answer yes to these questions is to commit to the path…. There’s the cleansing right there. Are we willing to begin to let go of gratuitous cynicism, nursed resentments, dispiriting bitterness, and the kind of negativity that leaches away our energy and gives us nothing in return? Letting go of those kinds of afflictive thoughts launches us on the journey of catharsis, of inner cleansing, that prepares us to receive the presence of the One who is already there
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BZ with BZ on the 4th of July
Reflections On A Special Night with Bob Dylan
| BRIAN ZAHND JUL 6 |

I spent the 4th of July at Starlight Theatre in Kansas City, Missouri with another BZ—Bobby Zimmerman. Although sixty-four years ago the other BZ walked into the St. Louis County courthouse in Hibbing, Minnesota and legally changed his name to Bob Dylan. Once, when asked what influence Dylan Thomas had exerted on him to adopt the name of the Welsh poet, the erstwhile Robert Zimmerman merely quipped, “I’ve done more for Dylan Thomas than he ever did for me.” And that’s probably true.
As is well documented, I’ve been an ardent fan of Bob Dylan for over fifty years, and of course I’ve been to many a Bob Show, as I call them. But for the last few years quirks of schedule have caused me to miss the Dylan shows. Either I was out of the country when he would come to Kansas City or nearby, or I would just miss him by a few days for some date in Europe. Last year Peri and I had tickets to see Dylan at the Thunder Ridge Nature Arena near Branson, Missouri—a four-hour drive. We left right after church on a Sunday and arrived just in time for the show to be cancelled due to a thunderstorm that rolled through and wrecked a lot of equipment. Oh, well.
But then the stars finally aligned. Bob Dylan at Starlight Theatre on the 4th of July—his most recent tour date in what has been popularly dubbed as the Never Ending Tour ever since Dylan began touring more-or-less nonstop in June of 1988. Over the past thirty-eight years Dylan has performed nearly four thousand shows—that’s over a hundred shows a year. That would be impressive for any artist, but for someone who is now halfway into their ninth decade it’s truly astounding. Bob Dylan is the truest and most traveled of all the troubadours. You don’t really have to go to Dylan—wait long enough and he’ll come to you.
Geographically that is. Artistically you come to Dylan on his terms. He’s not going to “play the hits,” he’s not going to try to ingratiate himself to the audience, he’s not going to endear you with lively repartee between songs. In fact he’s not going to speak a word. No, “Hello, Kansas City.” No, “Let me introduce the band.” Not even a single, “Thank you.” These days the songs do all the talking for him. And that’s just fine. At eighty-five I believe Dylan has finally become what he always wanted to be when he first left Hibbing at eighteen—a wizened old bard who has nothing to offer but his songs.
So meet the artist on his own terms. You can’t say you saw Shakespeare at the Globe Theatre, but you can say you saw Dylan at Starlight Theatre. Or at Mystic Lake Amphitheater in Shakopee, Minnesota if you go see him tonight. These days I always wonder if the latest leg of the Never Ending Tour will be Dylan’s finale. But just last night Dylan posted the first shows of a fall tour in Europe. The Never Ending Tour kicks off again in mid-October in Oslo and Bergen. So to all my newfound friends in these recently visited cities, do yourself a favor and go see Dylan when he shows up in your neighborhood.
One of the things that continues to amaze me about a Dylan show is how many young people attend. Not long ago I took a fourteen-year-old grandson to see ZZ Top, and I’m convinced he was the youngest person there by about fifty years. It was all old folk. Not so at a Dylan show. Young people continue to find the poet laureate of rock ‘n’ roll and want to see the legend in the flesh. Good for them.
So I saw Dylan once again. This time on the 250th birthday of America. To be honest that’s the most American thing (in a good way) that I can think of. The only way it could have been more American is if the ghost of Johnny Cash had joined his old friend on stage for a duet of “Girl from the North Country.” Lucinda Williams and the John Doe Folk Trio were the openers. Both were excellent, and both made cryptic and not so cryptic references to the difficult time America is passing through on a jubilee anniversary. Many in the crowd were there for the solace they knew they would find in the songs of the one who wrote,
They say that patriotism is the last refuge To which a scoundrel clings Steal a little and they throw you in jail Steal a lot and they make you king
Then at about the time that “the evening shadows and the stars appear” the headliner took the stage. There was no introduction. The giant screens were turned off. Our phones were put away. (As we had been warned to do in no uncertain terms.) Dylan took his place behind a piano at the back of a nearly dark stage. He wore a hoodie pulled down low. Dylan wasn’t there to be seen. If he could get away with it, I think Dylan would perform behind a screen—like an Orthodox priest performing mysteries behind an iconostasis. The octogenarian minstrel from Minnesota didn’t want to be seen but he did want to sing us his songs. A stripped down four-piece band is all Dylan needs these days. (A shout-out to Chicago guitarist Joel Paterson who was playing just his fifth show with Dylan—he was brilliant!) The whole performance was magical and better than I could have hoped for.
The first words we heard sung were, To be alone with you, just you and me . . . And it felt that way. On the third song the crowd sang along with “It Ain’t Me, Babe”—a song that Dylan was performing for the 1,153rd time since the first time he performed it in 1964. In “Tryin’ to Get to Heaven,” the fourth song, Dylan sang the line, There’s a rumbling in the skies—indeed there was. Starlight Theatre is located in Swope Park, and fireworks were booming overhead for the whole show. The “bombs bursting in air” provided a strange, but maybe these days an apropos, juxtaposition as Dylan softly sang,
Sitting on my terrace lost in the stars Listenin’ to the sound of the sad guitars Been thinking it over and I’ve thought it all through I’ve made up my mind to give myself to you.
The highlights for me in the ninety-minute set were “When I Paint My Masterpiece,” “Crossing the Rubicon,” and “Under the Red Sky.” Lately Dylan has been closing with the achingly beautiful “Every Grain of Sand.” But on this night the eighty-five-year-old Noble Laureate closed with a gorgeous rendition of “I Shall Be Released.” In the late autumn of his life the lyrics take on a more poignant meaning than when they were written sixty years ago.
They say everything can be replaced Yet every distance is not near So I remember every face Of every man who put me here I see my light come shining From the west down to the east Any day now, any day now I shall be released.
BZ

